To stay fresh, you have to evolve. Rodriguez and Miller have stayed the same.

From its bland title to its fair-to-middlin' story, mediocre is the word that fits How Do You Know perfectly.

The problem is that almost everything in the film feels either forced or false, so the tears aren't earned.

Yes, there are sex scenes in the film, quite a few. But for a movie where people are naked for a large chunk of time and play at bondage and dominance (without ever really seeming all that committed to it), it sure is boring.

Rebel in the Rye is Hollywood regular Danny Strong’s feature-film directorial debut, and it fumbles for a voice in tracking the life of a writer renowned for his.

It's an interesting idea that loses steam as it gains gore. The development of the story is much better than the payoff. It's fun while it lasts.

Whether you like The Meg depends on how much you like seeing Jason Statham in and out of a wetsuit, doing action-hero things. He's certainly good at it, and he's the best thing about the movie, not that the competition is particularly fierce.

The kind of fantasy that a 15-year-old boy would love, although parents probably should keep younger teens far, far away. This movie pushes the boundaries of its R rating about as far as they can go.

The Last Days on Mars isn’t a disaster. Robinson, in fact, shows some promise. It’s just not much of anything, a movie ultimately as barren as the landscape on which it takes place.

How you feel about Knight and Day will depend largely on your feelings about Cruise. If you can't divorce his performance from his off-screen antics, well, that's a problem, here and elsewhere. If you're willing to watch what's on-screen and leave it at that, there's fun to be had.

Despite their palpable comedic chops, Hart and Cranston are unable to make this unlikely and stereotypical pair likable.

Freeman is back in Reiner's latest, The Magic of Belle Isle, which has all the pathos and saccharine of "The Bucket List" but little of the humor. It's earnest, predictable and disposable.

[Estevez] still hasn't progressed beyond the film-school basics, but somehow he managed to recruit an all-star cast of (presumably) like-minded activists for The Public.

IF integrates stunning animation, comedy and emotion for a beautiful result, a perfect choice for your next family movie night — or if you just want to relive what being a kid was like.

It's clear this movie is for a certain audience, but at least the film embraces its genre and the jokes stick the landing. It's definitely worth a watch for fans of movies with an early 2000s rom-com aesthetic.

Give writer and director John Logan points for creativity, exceptional inclusion and casting Kevin Bacon. But the movie could have used a lot more of the camp-slasher horror part.

Watching unpleasant characters onscreen isn't always a fun experience, so casting Reeves and Ryder is genius. They're both full-on movie stars: charismatic, wildly photogenic, the whole nine yards. But they're also good actors, and they make these two neurotic misanthropes quite engaging.

If nothing else it’ll dazzle your senses, even on a small screen.

It’s a movie devoid of storytelling momentum, conflict and, worst of all, much in the way of laughs.

Kevin Kline makes a terrific Errol Flynn. He just picked the wrong movie to prove it.

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.

Black or White is more remarkable for what it isn't than for what it is. For example, it isn't ripe with drama. It isn't a thoughtful exploration of racial identity in America. It isn't a compelling look at judicial bias and class conflict. It is, instead, a movie that's every bit as oversimplified and obvious as its title.

Vincent Grashaw's film, although well-meaning (as a postscript reminds us), tries too hard, both in content and form.

The film has lots of effects and action and loads of Chris Pratt. What it needs more of is heart.

It's all-around generic, made notable by its weirdly schizophrenic tone. Sometimes it strives to be a character-driven thriller in the Jason Bourne mold. In other moments, it goes for over-the-top action and violence. But it's never very exciting.

It’s too bad that these maternal figures aren’t given much more to do except worry about their progeny in “The Son.”

It's not a fascinating (or even particularly interesting) character study — the film never lets you get close enough to its leading man to understand his damage — but it's nevertheless an intermittently moving one.

There is a sweetness to Radnor's character and to his film. What there is not is a sense of urgency, of a desire to find out what happens next.