The less said about The Ring, the better for you, the sooner-to-be-freaked-out.

The ideas are there, hints of genius, but no one ignites them. Add Osmosis Jones to that list of universal enigmas, and, more specifically, how the Farrelly Brothers could have done so little with so much.

Despite its inadequacies, however, The Zookeeper’s Wife conveys a tale of courage and opposition to authority that provides valuable inspiration for any era.

In the end, Ip Man 3 doesn’t quite rise to the dizzying heights of the first two films, but then again, this will almost certainly be your only chance to see Mike Tyson go up against Donnie Yen.

The Thing is paranoid, bleak, uncompromising, and thankfully devoid of a traditional Hollywood happy ending. Led by Russell, the ensemble cast is outstanding, but the real star of the film is Rob Bottin's imaginative creature effects.

Small Engine Repair is a real American horror story, skillfully shot, perfectly cast and acted, and carrying a sorrowful message that resonates with brutal truth.

As breathtaking as the imagery is, however, the script, which is narrated by John Krasinski, is a mess of anthropomorphic goop.

While India Sweets and Spices adds a veneer of depicting the contemporary Indian American experience, beyond the gorgeous lehengas and saris, past the insert shots of perfectly arrayed cuisine, lies a bland, uninspired story cut from a well worn template.

Solid 007 entertainment -- not as bad as some of the recent Bonds but not as spunky as some of the series' originals.

Once a crucial piece of backstory is revealed, the picture becomes more rewarding for it, emotionally and aesthetically, but that doesn’t temper the feeling that half the film was wasted on arty misdirection.

Has little of the wit, surprise, or memorable characterizations of the original.

It all seems as if it was a riot to film, but the finished product is just a few bombastic jokes stitched together to create a mid riff.

No doubt the most devoted horse lovers in the tween set will get their fill, but parents should sneak out for a very long popcorn break.

Interestingly, Coppola has eschewed state-of-the-art special effects in favor of a panoply of archaic film-school tricks -- reversing the film, multiple exposures, playing with the shutter speed -- that give his Dracula a stylized, almost hyper-real clarity and a wonderfully singular weirdness.

I'd be lying if I said this movie wasn't a hoot. Sure it's silly, but it's also campy, brainless fun, and just how often to get to see stuff like this on the big screen anyway?

Curious and effective.

The climax, like the film itself, is big, loud, and looks cool enough, which is what we’ve come to expect from summer movies … but not from Robert Rodriguez.

Take from the film's racial commingling what you want. Much of this may be old hat, even corny, and potentially offensive, but I haven't laughed out loud this often at a movie in ages.

All told, though, Thor suffers from "Iron Man 2" syndrome: too much backstory, too many subplots and character introductions, and not nearly enough full-frontal nudity from Natalie Portman, who frankly is given very little to work with here.

Despite its subject matter and some humorous moments, the film lacks any real verve and punch, and brings little new to the table in the already tired new genre of junkie confession. The performances are solid and there are flashes of humor, but on the whole Permanent Midnight is in the dark.

The Wandering Earth is as much a love letter to disaster films as it is a worthy entry in the genre itself. That, combined with some truly eye-popping visuals, makes it a film that should be seen on the biggest screen possible.

Ftrangely emotionless. There's little offered in the form of rooting interests or compassionate characterizations, making the film ultimately as ephemeral as its title.

The Wedding Guest arrives with unexpected gifts.

The story builds to a feverish pitch and then never reaches a satisfactory conclusion. But while it’s onscreen, the film moves, incites, and jabs, all while reminding us how difficult it is to grow up female and sane in this world.

Time may ultimately be kind to Cooper’s first foray into the horror genre, but the present holds nothing but darkness.

Turnabout is fair play, to be sure, but ultimately virtually everyone in Teeth ends up using sex as a weapon, edged or otherwise, to the detriment of all concerned. Just say "Ow."

The amazing thing is that, despite such crass beginnings, Space Jam rises to the occasion and succeeds as an enjoyable piece of film entertainment.

The story is littered with simplistic character arcs, obvious metaphors (the title comes from a swimming class), and big decisions involving the importance of work over family.