It's the PG-13 version of "The Hangover," and more than anything, that's just boring.

A pretty good action movie for about 45 minutes. Unfortunately, it lasts 106.

In To the Wonder [Malick] doesn’t give us enough to work with, leaving us with a thing of great beauty, but not much more.

The found-footage approach loses its shine quickly.

the performances, even from some really good actors, are wooden, the huge CGI effects are a distraction and the best thing about the movie is the one thing that, other than the casting, will probably make the most people angry: God is a kid.

Earnest in its ambition but dopey in its execution, Winter’s Tale never takes flight.

Writer and director Jeremy Leven’s film is meant to be a trifle, a status which it achieves, but it’s nothing more than that.

There’s a certain kinetic charm to the first half of the movie, a freewheeling silliness to these outsized characters that makes you curious to see just how wrong things will go. But as the weightlifters’ plot spirals out of control, so does the movie’s.

There is an element of sadness to this story that’s necessary to make it effective. Take that away and you’re left with a cute kids’ tale that doesn’t trust younger audiences to process the elements that can be difficult — and that make it better.

Mira Nair has crafted a handsome but clubfooted film that lurches through predictable hot spots. It most disappoints as a thriller, the flashbacks and voiceovers and romantic entanglements so dominating the proceedings you forget that someone is bound and gagged in real time.

Two narcissists do not a couple make, and without any actual relationship, there really isn't a movie.

Justice League is, if flawed, at least a step in the right direction. But there's still a journey ahead.

The Cobbler definitely won't please the audience for Sandler's mainstream blockbusters, and it's unlikely to win him new fans among the indie intelligentsia, either.

Doesn't really know what it wants to be. Morel would have done better to remember the "to thine own self be true" bit, and stayed with the dunderheaded shoot-'em-up vibe, with Travolta having a blast, often literally.

Although it's not as bad as it could be, the film is still middle-of-the-road fare for comedy fans who are already firmly in James' corner, delivering the sort of brainless laughs that James is famous for. [18 Oct 2012]

McConaughey has become one of the more interesting actors around, someone whose next role is always worth checking out. But in Gold, the balance is off somehow — he’s acting up a storm, but a muddled story and hard-to-figure character ultimately betray him.

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

In "The Player," Robert Altman carves up Hollywood with knowing, surgical precision. Cronenberg is a gifted filmmaker in his own right, but here he takes a meat-ax to the place. He gets what he's after but leaves quite a mess.

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

The result is too well-meaning and sincere to truly dislike, but too frictionless and manufactured to do right by the complicated scenario.

The First Time sets out to be the thinking kids' teen sex comedy but misses the mark by failing its characters. [18 Oct 2012]

Dolittle’s animals are easier to relate to, with their humanlike self-esteem and family issues, than the film’s central characters.

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.

Even if your veins pump with more popcorn butter than blood, Alita: Battle Angel can get a bit too stupid to bear, like watching a pair of 13-year-old boys play a very expensive video game they designed themselves.

TRON: Legacy may well satisfy the fanboys who have waited almost three decades for its appearance. Enjoy. Who knows, maybe one day if you wait long enough they'll make a "Super Mario Bros." sequel, too.

Credit returning director Christopher Landon and screenwriter Scott Lobdell (Landon co-writes this time) with trying something different with the story. Blame them for not doing something better.

It’s such a fine line between stupid and clever, a couple of not-so-wise men said a long time ago — and in a better movie.

The best thing about the movie is Matthew Rhys.