Writer-director Lisa Krueger bends over backward to make everyone happy.

The filmmakers would have been better advised to stick with the Zeroes and spend less time making up heroes.

It draws you into its grim and mysterious world through the first half of the movie, then falls apart like a house of cards in a hurricane.

The sequel to the 2008 hit “Twilight” makes no effort to satisfy outsiders. It's strictly for devotees who won't balk at plot absurdities, clunky dialogue and patchy characterizations.

Director David Yates, who did the last four “Harry Potter” films, delivers both big thrills at the climax and small, spooky ones when Tarzan and the others move through a world of beauty, terror and mystery.

If inciting boredom is the worst sin a filmmaker can commit, being timid is right behind it. Whether I agree with your point of view or not, I want to hear it.

Willis, who'll turn 50 a week from Saturday, has this kind of hero down pat. He may never again get or demand the complicated dramatic roles I think he could handle, but he's well-cast.

The whole thing seems to have been faked up for our amusement, like a circus freak show.

Satire's funniest when it's true, but Rock exaggerates and mistimes too many jokes.

Many movies require us to turn off our brains, and many rely on clichés and/or coincidences. It takes a special kind of shamelessness to do both, and Into the Storm has that in spades.

What seemed laugh-out-loud fresh in its unpredictable rudeness (at least intermittently) is now chuckle-to-yourself funny with about the same regularity.

Polly works best when writer-director John Hamburg gets his mind out of the water closet, and it's in there about two-fifths of the way. The rest of the time, he's assembling a hit-and-miss comedy with reasonable numbers of laughs and lots of personality from its two leads.

Goes wrong in less than two minutes, which may be a world record for sequels to decent movies.

The details of the story, crucial in a picture that's at least partly a mystery, remain a tangled blur.

I recommend “Batman v. Superman” to anyone who thought director Zack Snyder showed too much restraint in “300,” who felt “Man of Steel” whisked by too briefly or who wondered how Ben Affleck could be made to seem one of America’s most animated actors while clenching his jaw as tight as a Christmas nutcracker.

Where "Wedding" introduced us to a Greek family most of us had never seen before, "Connie" plays out like a clumsy episode of "Laverne and Shirley:" familiar, phony and forgettable.

This picture has an ugly habit of humiliating Bridget, which "Diary" did not.

The Bronze is one of those faux-naughty comedies that simply doesn’t have the courage of its lack of convictions.

What comes from the mouth of Johnny Depp...not the crucial spark of wit or insight that could encourage us to spend two hours with this cruel bore.

Reflective, deliberate, building gradually to a climax that left me touched.

The filmmakers' ineptitude is staggering.

John Hancock must be the best filmmaker working in LaPorte County, Ind.

I groaned at cliches and grinned at jokes in roughly equal measure.

Monaghan gives a solid performance, and Billy Bob Thornton has sarcastically funny bits as an FBI agent.

It’s hard to stay connected to a disaster film where the biggest disaster is the script.

The casting is weaker this time. Watching Peck crumble under fear and doubt was like seeing a skyscraper implode; Schreiber's more of a whipped puppy for most of the film.

Gandolfini's fans expect something quirky whenever he shows up, and they'll get what they've bargained for.

Smith has called friend Ben Affleck his muse, and this picture is just as bland and superficially pleasant as its star.