Roger Moore

Terminator Salvation is one of the most visually impressive films in the series. The action is non-stop and the look borders on dazzling.... But ironically for a series that's supposed to be about an embattled humanity struggling against those who lack it, there isn't an emotional moment in this.

Only Posey lightens up and lights up Irrational Man, which, for all its hectoring faults, is still a “Woody Allen Film,” and thus not a total write-off. At least the Newport, Rhode Island and environs locations are fresh.

The upshot of all this, two hours and 24 minutes of vintage car chases, fire escape chases, punch-outs and puzzling over clues? “It’s NOT ‘Chinatown,’ Jake.”

It’s entirely too scattered, sacrificing coherence, loaded down with characters who are more clutter than carriers of plot and substance.

But for a guy with all these comedy credits, Thurber (and his by-the-numbers star) fail to give the spark of sarcastic life to this version of John “Die Hard” McClain. The script gives Will one half-funny aside, and a single funny line.

I found Encanto more aggravating than entertaining.

It’s all cheerfully cheesy with the occasional off-color crack, a whole lot of jokes that don’t land, and a cast that’s not-quite-amusing-enough to remind us that Leslie “Airplane/Naked Gun” Nielsen was the Best Canadian at this kind of comedy.

Wine Country is no “Sideways,” even if the contrived stakes are supposed to be greater. It’s built for a particular audience and some of the laughs will hit home for anybody who’s gotten that AARP “invitation” in the mail. But Poehler’s film never crosses the tipping point of being worth 100 minutes of your time.

It's still a short-enough time-killer of a thriller -- not the worst of the summer, but a long way from the current state of the art.

It's a film of noble sacrifice and "good deaths" but surprisingly few chuckles.

Catch Hell has physical torture and sexually explicit mind games. It has a star who seems resigned to his fate and willing to give up and savage bumpkins straight out of “Deliverance” ready to take out their hatred of Hollywood and Hollywood values on him. That description gives this simple, ferociously feral thriller more depth than it deserves.

When we’re meant to be moved, there’s a disconnect. And when we should be transfixed, something Marceau managed in mastering his art, we’re let down.

"A Year” won’t tell aficionadoes anything new, and even novices may grate at its superficiality, a brief whiff of bouquet when more of a sip or two was called for.

This undramatic and flat peek “inside” the sewing rooms of Christian Dior holds little in the way of entertainment.

What it’s not very good at getting across is the source of the pain, the disaffection that drives our anti-hero’s excesses or his art.

Whatever power this piece of writing had over the two of them, Captive fails to capture the magic, hope or whatever made it a best seller.

There’s little sense of forward motion to any of this.

The whole affair is so slow as to let the mind play casting exercises. This seems instantly dated in 2019.

The documentary material is informative and mind-opening. The mockumentary surrounding it is a bit of a drag, and lets the movie down.

Murugarren, an editor turned writer-director, finally hits on a tone that suits this dark but potentially comic subject in the ensuing decades of the story.

Seagrass is psychologically interesting, and touching here and there. But one can’t help but get the feeling our filmmaker never got out of the shallows.

Me Before You is a goofy, giddy doomed romance and female wish-fulfillment fantasy.

With each rewind, the picture locks-up and we disconnect with what’s going on, and more importantly, with the characters. Which renders the minimalist promise of The Perfection a promise largely unfulfilled.

It’s a wonder the horror masters at Blumhouse didn’t send him back for one last rewrite over this ending.

This picture’s just a clockwork contraption of clever “tools” used cleverly and little more, none of them more than Final Cut Pro or Adobe Premiere or whatever editing software they used to cut this sterile jewel into shape with.

I can’t say it wasn’t interesting to sit through, but Thieves never rises above a seriously long-winded B-movie, a shoot-em-up in which no matter how graphic the violence that the characters mete out and witness, nobody ever lets you forget they’re playing cops and robbers.

It is a puzzle without a particularly interesting (to my Western eyes) solution. Whatever its visual qualities, and really the only comparison points are the weirder Japanese anime efforts, the strangeness of it all makes it a confusing big screen experience.

The Hunter’s Prayer isn’t in that top drawer. But with action auteur Jonathan Mostow (“Breakdown”) behind the camera and Sam Worthington in front of it, it gives fair value — and then some — as it treads a well-worn path.