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

There’s a lot going on here, not much of it all that interesting. Although you do get to see Rob Lowe clomp around in the woods. And that's something.

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

One of the joys of a good Brian De Palma film is his willingness to go over the top. In a film that isn’t so good, that excess becomes a lot less enjoyable. And Passion isn’t so good.

The Protégé has so many cool elements, so many reasons that it should be better than it is. Chief among them are Maggie Q, Keaton and Jackson. But they can only do so much, and ultimately the film feels flat. Like so many of the hapless anonymous bad guys, it just can’t hit the mark.

The one-note joke plays out longer and better than you might expect, at least for a while. But not forever.

The modern interpretation of King Arthur will entertain young viewers, eager to follow a story that doesn’t require Merlin’s magic to see where it’s headed.

There is a fine line between silly dumb fun and out-and-out stupidity, and “Red 2” crosses it one time too many.

It’s not as terrible as the premise suggests, thanks to some flourishes on Joseph’s part and an intriguing performance by Wes Bentley. Efron’s absurdly winning persona doesn’t hurt, either.

East of Wall looks great on paper, but when Beecroft decided to toe the line between fact and fiction, it ended up falling short of either. Neither a true documentary nor a drama, "East of Wall" lacks clear direction and the dialogue reflects that.

The promising beginning shows that it could have been something more than dumb. Alas, it’s not.

The Secret Life of Walter Mitty just doesn’t work.

The atmosphere is appropriately creepy, and there are some starts, if not outright scares...But it just gets stupid.

A by-the-numbers romantic comedy as predictable as it is cloying.

I'm all for directors making audiences think, but ultimately, those thoughts need to lead us somewhere. "To the Wonder" didn't, to my mind. I'm not sure Knight of Cups does, either.

One of those message movies that never uses subtlety when a sledgehammer is handy.

Going in Style will probably be a lot more enjoyable if you’ve never seen the original. It’s not that the remake is terrible. It’s cheerful and undemanding, and an appealing cast makes the time go by painlessly enough. But the 1979 film is poignant and layered.

The Losers does a perfectly serviceable job of achieving its low ambitions.

It’s an unnecessarily complicated puzzle-box construction that only serves to cheapen the story and diminish its impact

There's nothing particularly off-putting about the movie. It's all right. But neither is there anything especially compelling. In the context of this cast, another descriptive word comes to mind: disappointing.

The danger in making a movie like Coming Through the Rye is in the constant referencing and hero worship of bigger, better, towering works of art — you can only exist in their shadows and pale all the more for the comparison.

What an interesting failure Margaret is.

The action-thriller is formulaic and obvious. In other words, it's just another Neeson movie, nothing more, nothing less.

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

Star power can cover up a multitude of shortcomings in a film. Turns out stupidity isn't one of them.

It’s surprising how much you miss the star power of the original Avengers bunch. Or maybe it’s not surprising. Whatever the case, watching this movie too often feels like you suspect there’s a better party going on next door, but you can’t get in.

In fact, the problem with the film is that, despite an excellent cast that includes Maggie Gyllenhaal, Hugh Dancy and Rupert Everett, it doesn't really know what it is. A little of this, a little of that and by the time it's done, it adds up to not much at all.

While Leatherface, a prequel directed by Alexandre Bustillo and Julien Maury (“Inside”), works OK as a gory horror film (necrophilia, beheading, partial defenestration and beating eaten alive by pigs are a few of the delights), it makes less sense as part of the surprisingly (and needlessly) expansive “Texas Chainsaw” universe, as it were.