This is not a great comedy and will be soon forgotten, but it has nice moments.

The movie is a pleasant, inoffensive comedy. It's indifferently acted, especially by James Hampton in the lead, and it's too talky. It has some success with making its youngest camel cute - although not as cute as Benji by several miles.

Apart from funny supporting work by the inventor of the Mind Control and the guy in the "Q" role, the movie is pretty routine.

Guzman and Garcia (reunited from HBO’s “How to Make It in America”) are a joy to watch, and deliver their lines with just enough nuance to make them truly endearing.

Disney’s bland comedy Alexander and the Terrible, Horrible, No Good, Very Bad Day might have been a little more entertaining if it had been a little more, terrible, horrible, no good and so forth.

Quigley Down Under is a handsome film, well-acted, and it's a shame the filmmakers didn't spend a little more energy on making it smarter and more original.

By the time the Incredible Hulk had completed his hulk-on-hulk showdown with the Incredible Blonsky, I had been using my Timex with the illuminated dial way too often.

The Santa Clause (so named after the clause on Santa's calling card that requires Scott to take over the job) is often a clever and amusing movie, and there's a lot of fresh invention in it.

I found the opening third tremendously intriguing and involving, I thought the emotions were so real they could be touched, but then the film lost its way and fell into the clutches of sentimental melodrama.

It's not good, but it's nowhere near as bad as most recent comedies; it has real laughs, but it misses real opportunities.

Taken shows Mills as a one-man rescue squad, a master of every skill, a laser-eyed, sharpshooting, pursuit-driving, pocket-picking, impersonating, knife-fighting, torturing, karate-fighting killing machine who can cleverly turn over a petrol tank with one pass in his car and strategically ignite it with another.

Despite the best efforts of the talented director/co-writer Paul King (who gifted us with the “Paddington” movies) and the wonderful ensemble cast, Wonka is like one of those enticing-looking chocolates with a smooth and silky and delicious coating — but inside, you taste dry coconut instead of caramel or a cherry, what a bummer!

Donnie Darko is the one that got away. But it was fun trying to land it.

The movie's not without its moments.

It offers a good dose of non-gory scares, tells a story of supernatural time travel that recalls elements of “Inception,” and pays homage to the genre Wan and Whannell love.

The first time I saw the coming attractions trailer for Sister Act, I roared with laughter and delight. Unfortunately, it's better directed than the movie. The trailer has high energy and whammo punchlines. The movie is sort of low-key and contemplative and a little too thoughtful.

This sequel is a good improvement over the 2014 adventure that rebooted the franchise. The effects are better, the pacing is tighter and the overall impact is much more entertaining.

The Big Chill is a splendid technical exercise. It has all the right moves. It knows all the right words. Its characters have all the right clothes, expressions, fears, lusts and ambitions. But there's no payoff and it doesn't lead anywhere. I thought at first that was a weakness of the movie. There also is the possibility that it's the movie's message.

Vlad’s numerous speeches about love, honor and family grow tedious, along with the film’s wooden dialogue in general. And it quickly becomes obvious that Dracula Untold is more interested in being cool than making sense.

Seems torn between conflicting possibilities: It's structured like a comedy, but there are undertones of darker themes, and I almost wish they'd allowed the plot to lead them into those shadows.

After a setup worthy of a John le Carre adaptation, the main storyline is an admittedly well-filmed and well-acted but disappointingly lightweight journey more akin to a lesser Bond movie (there’s more than one reference to “Moonraker” along the way), with a cartoonishly forgettable villain and far too much time devoted to domestic soap opera antics played for easy laughs and unconvincing sentimentality.

The intentions and performances are irrefutably sincere and noble. The execution almost always feels a little bit forced and a little bit false.

While The Greyhound pays great attention to detail and feels authentic, especially in the claustrophobic and intense scenes in the bowels of the ship, the battle sequences that look like something straight out of a video game dominate the movie and keep us at a safe distance from getting emotionally involved on a level this story deserves.

The talented young leads acquit themselves well here, but this is also the kind of movie that provides the forum for not one but two of our finest character actors to deliver performances so hammy you’ll be reaching for the spicy mustard sauce.

The nicest touch is that Battleship has an honest-to-God third act, instead of just settling for nonstop fireballs and explosions, as Bay likes to do. I don't want to spoil it for you. Let's say the Greatest Generation still has the right stuff and leave it at that.

Clouseau is Alan Arkin this time, instead of Peter Sellers, and it's hard to say whether we gain or lose. Arkin flounders a little in the stiff French accent he inherited from Sellers. But in his movements and timing, he's Sellers' equal.

Told chronologically, it might have accumulated considerable power. Told as a labyrinthine tangle of intercut timelines and locations, it is a frustrating exercise in self-indulgence by writer-director Guillermo Arriaga.

The best parts of Need for Speed are the actual racing and chasing sequences — a true thrill ride for the audience as the story unfolds.