Randy Cordova

The club scenes, initially exciting, are ultimately wearying, and the movie meanders about much of the time.

One is left wanting to know more about Mr. Rogers, but the film reduces him to little more than a kind of superhero family therapist.

It's sometimes compelling, sometimes frustrating, and usually chaotic.

A Kid Like Jake, isn't terrible, but it sure could be better.

The movie ultimately winds up falling between two stools, failing as both a biography and an action film. Martial arts fans will naturally be drawn to the story, but the film does nothing to open up the world to outsiders.

It’s an action movie without an exciting moment. It’s a special effects flick with chintzy visuals. And it’s a Gerard Butler vehicle without enough Gerard to go around.

It is clean, crisp and passionless. You almost wish for some Bravo sleaze to add a little edge to the proceedings.

A movie that never quite comes to life, despite its title.

Although the visuals are spectacular — a barren Colorado River looks like a landscape from a science-fiction epic — there's not much else here to grab on.

The movie is not uninteresting, but a viewer isn't breathlessly waiting to see how things will wrap up, either. By the third act, you even start to get impatient with the characters. That's not exactly a ringing endorsement.

Cate Blanchett gives a ferocious performance as the steely Mapes, and she mines some genuine emotion out of the material.

Despite all its noble qualities, the movie boasts a stiffness that keeps it from ever feeling fully alive.

It looks great, Abbott is twitchy and terrific and you really want to like it. But it's never particularly involving, and it becomes even less so as it progresses. Ultimately, it's just a gorgeous, gruesomely wrapped package with little inside.

The movie makes some observations about the worth of human life — the title refers to the monetary value put on the life of the injured waiter — and the economic class system, but they're not terribly interesting or surprising.

Nick Ryan’s documentary looks at the disaster by using interviews, actual footage and re-enactments. The latter move undercuts some of the movie’s authenticity. Granted, there probably wasn’t another way to film it, but it muddies the film’s sense of truth.

The movie is a pretty humdrum affair when it focuses on humans, even when actors are playing characters based on real people.

On the Map is more like a sleepy lecture during the last week of high school: You may hear some worthwhile information, but it's not going to stick.

Documented is obviously a bit of advocacy filmmaking, which is fine, but most of the time it's not compelling enough to reach beyond the converted.

Ultimately, At Any Price isn’t terrible, but you can tell that’s hardly the endorsement the filmmakers were seeking.

The effect is initially giddy but it ultimately wears the viewer down.

Writer-director Amat Escalante was named best director at the 2013 Cannes Film Festival for this project, and although it obviously is made with some skill, it also is unrelentingly dire.

The Finest Hours is set in the early '50s. But did it really need to feel like it was made during the Eisenhower era?

Because the film is unable to settle on a tone, it's hard to get invested in much of anything.

The film evolves into one of those "watch the hostage fall in love with her captor" tales, always an icky plot development that's not any more appetizing here. There are some more twists to be had, but it's never more than marginally interesting.

The gags are stale, the characters uninvolving and bits meant to titillate don’t.

First-time writer-director Peter Sattler keeps things glum and unsentimental, then tosses it all up in the air with a syrupy ending that derails everything. On another movie, the high-corn finale might have worked; here, it just feels patently false.

Krasinski is likable and Martindale can make the lamest dialogue sound believable. But even they can't make us invest in characters that are nothing more than a collection of stock quirks and tics stuck in wildly contrived situations.

Jack Lemmon and Walter Matthau never made a movie called Grumpy Old Men Go Camping. If they had, it surely would look a lot like A Walk in the Woods.