The kind of movie that somehow succeeds in moving very, very slowly even while proceeding at a breakneck pace. It cuts quickly back and forth between nothing and nothing.

The cast is uniformly excellent, with Ariana DeBose leading the way. For a relatively small-budget film, the visuals and sets are better than good. Ultimately, though, “I.S.S.” runs out of big ideas and sputters across the finish line.

This Carrie comes off like a Lifetime film, adding little new and nothing substantial to improve on DePalma’s classic.

When bodies are buried in cellars and cats are thrown into lighted ovens, the film reveals itself as unworthy of its subject matter.

It’s a sweet and knowing and lovely and funny story, but occasionally the spell of warm nostalgia is broken by painful moments of family heartbreak and cruel bullying.

The argument about whether Sandler is terrible or talented has long been settled. The answer is both.

The Cutting Edge is a marriage of two durable Hollywood genres: It's an Underdog in Training sports film, crossed with that most beloved of all romantic formulas, the Incompatibles in Love. There is essentially not an original moment in the entire film, and yet it's skillfully made and well-acted.

With director Greg Berlanti (“Love, Simon”) skillfully weaving in a myriad of storylines that justify the 132-minute running time, Rose Gilroy delivering a crisp and funny script (based on a story by Bill Kirstein and Kennan Flynn) and Scarlett Johansson and Channing Tatum igniting the fuse with good old-fashioned, Grade A movie-star chemistry, “Fly Me to the Moon” is a “go” from the get-go.

Justin Timberlake continues to demonstrate that he is a real actor, with screen presence. But after the precise timing and intelligence he brought to "The Social Network," it's a little disappointing to find him in a role that requires less. He has a future in the movies.

A mixed-bag satire with ambitions that veer wildly from sharp political insight to slapstick farce to inspirational semi-autobiography. It never finds solid ground in any of those genres.

In movies with this story structure, all depends on the precise timing of the delay and the revelation, and Bounce misses. Not by a lot, but by enough.

While most band documentaries wade through sex, drugs and rock 'n' roll, this one has no sex, no drugs, and the kind of rock 'n' roll that reminds one of their fans of "something I'd hear at a dorm party."

It's a movie without a brain. Charlie's Angels is like the trailer for a video game movie, lacking only the video game, and the movie.

The result of the film is shocking, saddening and frustrating.

I can see what Thomson is getting at and even sort of appreciate it at times; the movie isn't boring, but it meanders and loses track of plot threads. Any feelings we have for the characters is muted because they all richly deserve to die at one another's hands.

Sophisticated in its look and feel on the one hand (the warm hues and tones evoke a warmth that defies the wintry cold), it’s almost too retro for its own good on the other.

Winner should have told us a lot more about his lawman, or a lot less.

Brannigan isn't great, but it's a wellcrafted action movie and, besides, it's got John Wayne in it.

Writer-director-star Katie Holmes perfectly captures those early pandemic days in the occasionally heartbreaking and mostly sweet and lovely romantic drama Alone Together.

There's a high gloss and some nice payoffs, but not quite as much humor as usual; Bond seems to be straying from his tongue-in-cheek origins into the realm of conventional techno-thrillers.

[A] cartoonish, offensive, overblown, clanging, steaming piece of ... cinema.

The story is so-so, in other words, but the pummeling is primo.

It’s the MMA version of Million Dollar Baby meets Rocky in Halle Berry’s directorial debut Bruised, a well-acted and occasionally involving but overly long, cliché-stuffed sports film that hits all the usual notes and piles on the subplot drama to the point where we’re nearly exhausted by the viewing experience.

[Stern] comes across as a sincere presence who is almost too polite and doesn’t challenge some interviewees who make wildly inaccurate and sometimes racist assertions based on ignorant viewpoints. But it could be argued his gentle, respectful style of an effective tool to get his subjects to reveal their true selves.

The concept is inspired. The execution is lame. Anger Management, a film that might have been one of Adam Sandler's best, becomes one of Jack Nicholson's worst.

Bell and Grammer are wonderful playing off one another. Funny when the moment calls for funny, authentic and believable when the moment calls for substantive drama.

Despite its cast and convincing backdrop, Stonehearst Asylum is a tame entry in today’s roster of horror films.

A tight, taut thriller with a twist.