Pat Padua

Somehow, for all the work that went into the film, it comes across as something that may have worked better as an audiobook.

Though lacking in the script department, this cinematic wonderland delivers on one promise: escape, to a place of such natural beauty that even these affluent characters, however cardboard, are forced to take stock of the important things in life.

The Good House has a lot of potential and features some attractive amenities, including dramatic conflict and a seasoned cast. But like a subpar property, it just doesn’t show well in a highly competitive market.

Despite some quality craftsmanship, “The Good Boss” ultimately doesn’t pay off. Capitalism should be more fun than this.

It’s a fantastic idea, but the execution is inconsistent. Alice, the movie, dares to go through the looking glass, but it doesn’t entirely know what to do once it gets there.

The movie sounds — and looks — tasty enough, but this “Strawberry Mansion” just doesn’t bear much fruit.

“Reminiscence” has all the ingredients for electrifying summer entertainment. But despite its considerable star power and impressive set pieces, the sprawling meditation on memory is simply an attractive mess.

The movie has its flaws. Still, for anyone with a soft spot for the mute gaze of man’s best friend, it’s hard not to shed a tear — or two — during The Art of Racing in the Rain.

Unfortunately, in the filmmaker’s narrative-feature debut, she takes the theme of betrayal and turns it into fodder for a sitcom, and not a particularly funny one at that.

Yet despite the stirring performance at its heart, the movie is ultimately too restricted by its own dramatic conventions, and it only seldom comes to life.

The film lacks the very imagination it touts, along with another trait that it links to exceptional athleticism. That’s obsession.

Sometimes feels like a horror movie with a contact high.

In his effort to inject fresh blood into this gory franchise, which has already seen four sequels (including two “Alien” crossovers), the filmmaker can’t seem to summon up that old Black magic.

Like its protagonist’s fleeting relationships, the film never completely connects.

Despite a glorious performance by Nicolas Cage as a vicious father, this vivid satire of a world turned upside down is marred by writer-director Brian Taylor’s sloppy filmmaking.

This is one movie that no one needs to relive.

There are some inspiring people in the film, and one wishes it had been edited to focus more on their stories. In the end, Tomorrow is less a movie than a long public service announcement.

Unforgettable borrows elements from film noir, Lifetime movies and slasher flicks and updates them for the Internet age. But this forgettable thriller will simply make you remember other, better films.

I Am Michael, is an intermittently affecting — but not entirely convincing — conversion story.

London Road comes across as no more than tabloid karaoke.

Manhattan Night gets by on the strength of its visuals and a few vivid central performances, but by the time we find out whodunit, it doesn’t really matter.