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.

It fails to offer as single compelling character as a sacrifice to the angry volcano.

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.

There's no question that a soft-spoken person can be a great leader, but Caviezel underplays Ladouceur to the point that you wonder how the players could even hear him, much less be inspired by him.

The Day is not a classic, not by a long shot. But it's not a disaster, either. With movies like this, that counts as a small victory.

Where the film falters a bit is with the story. The final act is reminiscent of any of your garden-variety sci-fi adventure movies, which is a jolt after we’ve spent the rest of the movie watching these two figure each other out and try to make peace with their situation.

Director David Ayer is using the blood and guts to make a point about the insane violence committed by drug cartels, yes, but the bloodshed is unrelenting and, ultimately, exhausting.

Kidman and Firth both deliver compelling performances, although this kind of plot-driven fare is no real challenge to their considerable acting talents.

What really saves Super Troopers 2, to the extent that it even wants to be saved, is how gleefully the Broken Lizard bunch goes about its work.

Josh C. Waller’s movie is just prurient nonsense, a film only a couple of notches up from the women-in-prison films that were popular years and years ago.

Blomkamp regular Sharlto Copley is quite good — as Chappie, in a motion-capture performance. (He also provides the voice of the robot.) If this were somehow a commentary on man's increasing lack of humanity or something, that would be fine. Instead, it's just good work buried inside a movie made up of intriguing ideas that never really go anywhere.

Check your driver's license - if you have one, you're probably too old to get the most out of it. If not, you may find your satisfaction a little harder - though not impossible - to come by.

It’s well-staged, well-acted, all the right people die in the end. It comes down to, well, Romeo and Juliet, really, and Douglas Booth and Hailee Steinfeld prove capable in the title roles.

Jenkins is a fantastically adaptable talent. It helps that his character here is supposed to be innately likable (by everyone, evidently, but his girlfriend's family), since Jenkins is so likable as an actor. Good thing, because there is little else to like about Darling Companion.

Without Lohan, Falling for Christmas would be another of the near-anonymous morass of holiday movies so prevalent during the season. Even with her it’s not much more.

Between the siblings' adventure scenes, family tragedies and familiar characters it's hard to stay engaged with a film so gloomy, sad and sluggish. In the end, you’re left wondering what was real, whether it was all just a dream or if you're just too grown up to understand.

It never really comes together in a satisfying way, and given the talent involved, that adds up to a big disappointment.

At times it’s a learn-your-lesson story. At times it’s a shoot-’em-up that does not skimp on the gore. Whatever trope it dips into, it does so without much originality.

Miele also made the similar "Scatter My Ashes at Bergdorf's," a look at another ultra-expensive store in New York. That film, however, did a better job as a social investigation into how the other half lives. Crazy about Tiffany's is more shallow, as befits so many of the interview subjects.

People who love thrillers without question may find a lot to enjoy here. For a political thriller, it's not one of the most cerebral out there. Those who simply love Curtis and Sumpter might also like the film. But other than those perks, audiences are better off saving their money.

Table 19 is an odd little movie, and a frustrating one.

It would benefit greatly from having real actors in the major roles. That the bad guys -- who are actors -- are more charismatic is certainly not due to the fact that we are on their side. It's because they know how to make us want to watch.

There are brief bursts of hilarity, and they are all, without exception, owed to McCarthy’s innate charisma and comedic timing.

A lackluster second effort that mines a lot of the same jokes. Only no joke is as funny the second time around, even when it's being delivered by really funny people.

In the end, this may be a case of a pop-culture icon being dragged down by the weight of trying remain relevant past its prime. It’s not woke, but you can’t call it racist. Maybe racist-ish. Misogynistic-ish. Entertaining-ish.

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]

It’s probably best to think of Suicide Squad as a primer, an entry into a side world of the DC Universe that may pay bigger benefits in later films. It certainly seems like that’s how the filmmakers thought of it.

In the end, if someone doesn't have the time to absorb Tartt's book, they'd be better serviced reading a Wikipedia synopsis than seeing this film.