However, despite having all the tried-and-true elements set firmly in place, Ah-nold's latest doesn't quite measure up to the action star's finest work, even if it should prove to be a mildly pleasing diversion for fans.

Game 6 is ultimately a curious dud.

Like the peanut butter that serves as a primary source of sustenance in the film, Adrift can be devoured in smooth and/or crunchy modes: high-seas romance or cataclysmic adventure. There are commendable aspects to recommend each approach, yet the final result is an uneasy blend.

Based on the folky country song “Just Like Old Times” by Todd Snider, the film feels like a throwback to the heyday of Austin: eclectic acoustic guitars, dingy pool halls, dive bars with fountains of whiskey, neon signs, and lots and lot of late-night tacos.

Ultimately, it's a bore. Don't see the movie – read the book, play the game.

A hilariously silly comedy based on an absurd true story.

Mainly remembered for its rather soggy haunted-house plot and the Master Showman's latest gimmick, the "Illusion-O" Ghost Viewer (a strip of colored plastic not unlike 3-D glasses which enabled audiences to see the ghosts on screen, or "remove" them when cowardice got the better of them).

And even if, at times, it seems terribly episodic as it plunges into each character's separate story and then back and forth between drama and comedy, the performances are constantly fun and fresh.

Even among all the fictions, audiences will find more truths about modern Russia than they’ll get from most news broadcasts.

Thrillingly airborne and a riot of color, Migration’s many scenes of flying are an absolute joy.

Across the Universe will have ardent defenders, but in the long run, it will do nothing to infuse life into the current mini-revival of movie musicals and is as soft-headed as the wishful refrain “All You Need Is Love.” Maybe that works in real life but not in the movies, sister.

Rodríguez is excellent as Mike.

Try as they might, the Jackass gang can't quite snatch the year's ultimate 3D gross-out from the pricking jaws of "Pirahna 3-D."

Smirking at the audacity of it all is part of the fun, and if nothing else, A Knight's Tale is a hell of a lot of fun.

Pure unadulterated animal fun.

The filmmakers go to obvious pains to add a bit of nutritive value to their sweet, frothy confection.

A genuine cri de couer in the director’s long-running battle against the forces of censorship and a banal societal (and cinematic) status quo. And for those reasons along it deserves to be seen.

D-FENS is a cut-out, a cartoon Everyman we're supposed to feel sorry for and can't. He's a bad parody in what will doubtless be an over-analyzed film about loss of control. It's just too bad nobody on the creative end seems to have had much control either.

Nowhere near the Hollywood disaster that was foretold, Waterworld is a near-model summer fantasy: two hours and 21 minutes of loud, expansive fun.

There are, of course, the requisite trial sequences, and some mildly horrific shocks along the way, but Ruben and company fail to make any of this very interesting.

In its own way, sloppy and excessive with LSD camera work and cutting, Posse is like a Gene Autrey Western from the Forties where the bad guys are the bad guys and the good guys are the good guys and the girl and the boy love each other (and those films were frequently more elliptically hallucinatory than this).

The only glimmer of actual characterization in the entire film comes – all too briefly – from Frank's old boss Inspector Tarconi (Berléand).

The filmmakers have cast their underdogs well: Madhur Mittal plays the anxious, upright Dinesh; Suraj Sharma is the loose-limbed, pizza-loving Rinku; and they’re both funny and endearing, two words that apply to the whole of the supporting cast.

For all its Del Toro touches (Goodwin as a young autistic boy kidnapped by the bugs), Mimic is a surprisingly hollow thriller.

A sapphic blending of Westerns and mythology (Boorman via Cocteau?) shot through a filter of Seventies sci-fi paperback covers, After Blue is the second proper feature from French experimental filmmaker Bertrand Mandico – although his output of shorts is abundant – following 2017’s The Wild Boys.

Worth a look.

Although several great speeches and hilarious one-liners goose the film, God Bless America nevertheless peaks too early and becomes rather one-note.

Though fashioned as popular entertainment with laughs, light moments, and mostly humorous segments, Religulous is as serious as a disapproving Jehovah about its mission to upend our rote allegiance to blind religious faith.