Carrey and Daniels are good actors, and it's understandable when an artist wants to revisit a career-high point. How much you enjoy Dumb and Dumber To will depend greatly upon whether you think "Dumb and Dumber" was one.

Like a good episode of "Smallville": You may feel a bit silly watching it if you're past high-school age, but you just might have a good time.

Will anyone really believe in this GQ-perfect big man on campus who lacks the courage to ask her out on a date?

It’s a lame, scare-free film that wants really badly to work in the vein of “It Follows,” but has none of the intelligence.

It’s all too much without ever turning into much at all.

This is a wretched movie, trading on characters we revere, yet doing nothing to honor them. Director Peter Segal tries everything he can to recapture the magic of the earlier movies, but to no avail. It’s all rather sad.

The story doesn't really have a focused plot.

The result is a pious mess of a movie that falls short both as history and as storytelling.

A popular topic for debate is whether television or movies are better right now. Movie defenders are not going to want to use Dorfman in Love to bolster their argument.

When Argylle is fun, it is really fun. Watching Rockwell and Howard run around the world is entertaining, for a time, but not forever. “Because these things will change,” as Swift sings in “Change.”... Maybe she should have written the movie.

Pat and silly, the movie offers a wheezy moral that a buttoned-up American just needs a sensitive Latino and some ethnic cuisine to end the blues.

The movie, based on the novel by Stephenie Meyer of “Twilight” fame and directed by Andrew Niccol, is just kind of dumb. Like the more famous books and movies, about a love triangle between a vampire, a werewolf and a human girl, it often plays like a teenage girl’s idea of how literary romances play out.

The Kitchen requires Scorsese levels of charisma to work, and only McCarthy comes close out of sheer professionalism.

Timothy Hutton is a good actor. So whom to blame for Multiple Sarcasms?

Everyone would have been better off if the editors had just cobbled together a 90-minute blooper reel and called it a day.

The charm of these movies — such as it is — comes from the notion of aging action stars slugging it out between wheezes. So when Stallone brings in a new cast of mostly generic warriors, the premise, like the movie, deflates.

Call it what you want, but the best word to describe it is: unnecessary.

The film's lack of common sense reaches out-of-control proportions in the final minutes.

Director and co-writer Jeremy Garelick doesn't even reach high enough to pick the low-hanging fruit, opting instead to gather half-rotted, fly-infested jokes off the ground and expect Kevin Hart to make them funny by virtue of being Kevin Hart. Only grudgingly will I acknowledge that he sometimes does.

The story of her life is pretty well-known. But in Diana, it’s not particularly well told.

Of course with this kind of film, not every joke lands. You’re hoping for a good proportion — more hits than misses. The ratio isn’t quite as high as you’d like with The Binge, but it’s close enough.

This is a first-rate cast in a second-rate story with some entertaining bits and some maddening holes. That combination works for late-night channel surfing. Anywhere else, not so much.

It's not as if every funny movie has to offer something in the way of social commentary or greater insight. Sometimes funny is just funny. Sometimes, as is too often the case here, it's not.

Relying wholly on good casting and the charisma of its actors, big and small, to elevate too-familiar material, the film’s stale humor hinges on two faulty premises: That the suburbs are inscrutable and that the people who live in them are clueless.

There's nothing surprising or fresh about these people, their problems or their pairing, each character fitting snugly into his or her familiar archetype.

The Forest is one of those horror movies that starts with an intriguing idea but has no idea what to do with it.

Bitter Harvest, bless its low-budget heart, means well. But George Mendeluk’s film, about the Holodomor, the forced famine and starvation that killed between 7 and 10 million Ukrainians, falls well short of its ambitions.

It’s a maudlin, meandering bit of moviemaking that sheds little light on the loyal opposition in the North.