Is the film worth seeing? Well, yes and no. Yes, because it is exactly what it is, and no, for the same reason.

I object to the movie not on sociological grounds but because I suspect a real geisha house floated on currents deeper and more subtle than the broad melodrama on display here.

I didn't laugh much. I don't think the Stooges are funny, although perhaps I might once have. Some of the sight gags were clever, but meh. The three leads did an admirable job of impersonation. I think this might be pretty much the movie Stooges fans were looking for.

Chasing Madoff is not a very good documentary, but it's a very devastating one.

A well-made thriller with a lot of good acting, but the death of Elisabeth Campbell is so unnecessarily graphic and gruesome that by the end I felt sort of unclean.

The movie is broad and clumsy, and the dialogue cannot be described as witty, but a kind of grandeur creeps into the screenplay by Ted Griffin and Jeff Nathanson.

Matrix Resurrections is a great-looking film and Reeves and Moss remind us of what an iconic team they made in the trilogy, but the themes of finding one’s identity, free will, taking leaps of faith in order to serve the greater good, humans against machines — we already hashed all that out back in the day, and ultimately this feels more like a warmed-over tribute to the past than a bold and fresh new chapter.

A perfectly acceptable brainless action thriller.

The problem with Code 46 is that the movie, filled with ideas and imagination, is murky in its rules and intentions. I cannot say I understand the hows and whys of this future world, nor do I much care, since it's mostly a clever backdrop to a love affair that would easily teleport to many other genres.

The one element in the movie that is not standard and that does have some energy is the TV show itself, with Dawson's performance as the egotistical, sleaze-bag host.

The idea of the president's daughter being held captive isn't blindingly original (it's an alarmingly dangerous occupation), but placing the story on a space station is a masterstroke, since we're about filled up to here with prison movies set on Earth.

Take out the gangsters, pump up the Shogun role, give Taimak and Vanity a little more screen time, and you'd have a great entertainment instead of simply a great near-miss.

Some of these stories are fascinating and some are heartbreaking, but together they seem too contrived.

Because it is light and stylish and good-hearted, it is quite possible to enjoy, in the right frame of mind. This is more of a movie to see on video, on an empty night when you need something to hurl at the gloom.

It comes to life in the dance sequences, and then drifts away again.

I think Dwayne Johnson has a likable screen presence and is a good choice for an innocuous family entertainment like this.

Suspect is a well-made thriller, but it was spoiled for me by an extraordinary closing scene where Cher, as the defense attorney, solves the case with all of the logic of a magician pulling a rabbit out of a hat.

This is a well-meaning film with a good idea that unfortunately stumbles on its way to its less-than-satisfying end.

The problem with "Nicholas and Alexandra" is that it considers the Russian Revolution from, in some ways, the least interesting perspective.

The problems resulting from the switch of identities are fairly predictable, but fun: This is one of the better recent Disney productions.

It's not the idea that people will kill each other for entertainment that makes Series 7 jolting. What the movie correctly perceives is that somewhere along the line we've lost all sense of shame in our society.

Despite the filmmakers’ best attempts, the latest screen adaptation of Shakespeare’s tragic love story Romeo & Juliet lands with a dull thud.

The good news: Hardy creates two memorable characters, making some bold and always entertaining if not entirely successful choices. The bad news: Somehow, the fictionalized version of the terrifying, violent and twisted Krays manages to be pedestrian and derivative for long stretches.

Some of the bits work and others don't, but no one seems to be keeping score, and that's part of the movie's charm.

The movie, unfortunately, doesn't really work; it's one of those films where the characters always seem to be Behaving, as if ordinary life has to be jacked up into eccentricity.

Has little islands of humor and even perfection, floating in a sea of missed marks and murky intentions.

Sam and Frankie are certainly interesting enough that a film about them coming to grips with this hidden truth would have been justified. It also would probably have been harder to write than this one, so People Like Us marches on with a coy little smile, toying with Frankie and the audience.

[A] basically brainless but intermittently adrenalizing, mostly-just-for-kids reboot.