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.

McCormick is particularly grating in upholding her half of the romantic duo. Sure, she can dance, but act?

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

Doesn’t plumb the depths of adolescent emotions and high-school politics so much as skims the surface in a psychedelic dinghy.

Gordon is an eclectic director, and he has trouble with the tone here. It’s not that cynicism can’t evolve into something more useful in film. It’s that the reasons should be more convincing.

Despite its looks, talent and pedigree, Transcendence never becomes the movie it could have been.

The food, it must be said, is beautiful. (Mario Batali and Marcus Wareing were consultants on the film.) And Cooper, despite the shortcomings of the role as written, goes all in. So does Miller. This should be a better movie than it is.

The film is a live-action cartoon down to its main character's name -- Wilee, "like the coyote." It's just a few sticks of dynamite and a 10-ton anvil short of going full Looney Tunes, and is all the worse for that restraint.

The true story, along with Boyega’s amazing performance, prop up what would otherwise be a lackluster thriller. From the trailer, I expected to like it a lot more than I did, but it doesn't do Brown-Easley's story the justice it deserves.

I admire what Gyllenhaal attempts in The Bride! I was less satisfied with the execution.

Intruders promises much but delivers relatively little.

Horror comedies can be wildly entertaining -- "The Return of the Living Dead," from 1985, for instance. It sends up horror movies in hilarious fashion while still managing to be gross-out scary. The Revenant never rises to that level. Nor does it seem to want to.

I appreciated the effort Delpy, directing her sixth feature, puts forth in trying to spice up the genre. But that doesn’t mean I enjoyed it.

There's a surface elegance that might play as depth in smaller doses, but at feature length, the stylistic flourishes seem to be covering for deficiencies rather than servicing the material.

Citizen Koch is undisciplined and depressing, yet still strangely worthwhile.

Butter is funny in spots, but it's so preoccupied with landing below-the-belt cultural jabs that it misses the opportunity for laying out biting social commentary.

Because the film is unable to settle on a tone, it's hard to get invested in much of anything.

The screwball plot is woefully thin and predictable, with inane situations and characters who barely act human.

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

Any film that reminds us that the work for equality is far from done is traveling a worthy path. This one just could have done it better.

There’s nothing wrong with a thriller leaving some loose ends. But Deep Water trips over them too often.

Delivery Man means well, but it’s innocuous to the point of non-existence. In trying to please everyone, the film runs the risk of pleasing no one.

I could see The Woman in the Window becoming a kind of channel-surfing cult classic. But not as long as Rear Window is out there somewhere, too.

It’s not like the first film was some sort of idiot-comedy version of “Citizen Kane” or something. But that film played like a good buzz. The Binge 2: It’s a Wonderful Binge plays more like the hangover that comes after.

The cast is impressive, and again, Bridges is always a welcome presence.

The struggle between faith and reason somehow gets sidetracked, resulting in a sometimes silly, too-obvious journey.

Me Before You is enjoyable in places, and Claflin eventually gives his character some depth beyond simply being angry. But the film exists mostly as a tear-production delivery system.

Sizemore seems to be operating in his own dimension outside the confines of the film and script, just doing whatever he wants. That's not a compliment. Mills' direction is the movie's high point. It's assured, and he stages scenes with skill.