Randy Cordova

Strange, surreal and compelling, All I See Is You is a dreamy exploration of a marriage, and what happens when all of its imbalances and insecure quirks are suddenly thrust out in the open. It’s also something of a thriller, and the two worlds don’t mesh in a way that is completely satisfying. Still, it’s riveting to watch everything unfold.

But for all its missteps, it's tough not to be engaged. Cruz's full-tilt flamboyance is just too much fun, and her more down-to-earth moments can be devastating.

Writers and directors Bob Fisher and Rob Greenberg don't do anything particularly clever or inspired, but they display a knack for snappy dialogue and draw solid work from the cast. It's enjoyable watching Leonardo and Kate draw closer together, and the film's emotional moments strike the right notes.

The buddy comedy Papi Chulo could go wrong in all sorts of ways, so it’s kind of a minor miracle how much it actually gets right. Funny, empathetic and tender, it pretty much sneaks up and catches you off-guard with its sly charms.

There is no sense of dread or impending doom; instead it's just one jolt after another. It's like having someone jump out at you every five minutes, and about as much fun.

The characters flutter about, argue and flirt, but they are simply too bland and vacuous to make much of an impression. It doesn't help that half of them serve no purpose other than to fill the camera frame.

Although everything here works for the most part, there is also a definite lack of oomph as the movie pushes toward the inevitable climax.

Nothing feels believable in “Big Stone Gap,” a bungled, charm-free look at small-town life in the South in the late '70s.

Basically, a lot of things happen; not interesting or believable things, but, hey, there's movement and action.

Stark’s turgid approach feels both pompous and cold, and the film never connects emotionally.

The script, written by the actress, is downright wretched at times.

Most of the time, it simply coasts along at the level of a typical Lifetime TV movie.

When an inane ending appears out of nowhere and purports to add depth to a movie which has little? That's just maddening. And the twist in Serenity leaves you feeling both cheated and annoyed, which surely isn't the filmmaker's intention.

[Costner's] utter conviction to such a daffy project is strangely endearing. You may never believe one minute of Criminal, but Costner sure does.

First-time writer-director Tom Gormican keeps the dialogue moving at a rapid pace, which doesn’t obscure the fact that most of what is said is dopey and witless.

The chemistry between Baldwin and Moore is strangely disconnected. The performers aren't bad, but they don't generate any kind of heat.

Pat and silly, the movie offers a wheezy moral that a buttoned-up American just needs a sensitive Latino and some ethnic cuisine to end the blues.

Ultimately, the film is never boring, but it's never involving, either. At the end, what you're left with is a modestly entertaining film that doesn't seem to have an original thought in its head. In that way, it's a lot like the characters it spotlights.

Although it won’t win any points for originality, it is a fast-moving little chiller filled with creepy atmosphere and convincing performances.

The whole thing is sentimental corn, which isn’t bad if it’s handled with conviction and sincerity. But the direction by John Stephenson (better known for special effects than directing) is resolutely stiff and hollow. That’s murder for a movie dealing with miracles.

Unfortunately, what the filmmaker has wound up with is something that feels like it should be playing at the bottom end of a triple bill at a drive-in.

It's mindless entertainment with enough thrills and chuckles to make the time pass painlessly. Just don't examine anything too closely.

Director Michael Goi is big on jump shocks that get increasingly tiresome.

For all its missteps and machinations, the film mostly achieves its goals. In other words, have some Kleenex ready at the theater.

The film, much like Willis' performance, never flatlines, but it never delivers the thrills you expect from this type of genre piece.

The film is based on a popular series of young-adult books (big surprise), but one figures only die-hard fans will enjoy the result. The movie is slow-witted and moves at a glacial pace.

It's no surprise The Boy Next Door is junk. What is disappointing is that it's not fun junk. It doesn't even merit a good hate-watching, because the whole thing is so meh.

If you had to update the film for the Instagram generation, you could do a lot worse than what director Shana Feste (“Country Strong”) has come up with. She has crafted a stylish, evocative journey into overheated-teenager territory. For a good chunk of the time, it works.