Ice Station Zebra is a movie so flat and conventional that its three moments of interest are an embarrassment.

The acting is the purest thing in Gold.

Thanks to Schweighöfer’s stylish, Italian Job-influenced directing, a sense of its own ridiculous nature and some fabulous performances by the charming and good-looking supporting cast, Army of Thieves is the very definition of an entertaining Netflix confection.

[A] disappointingly listless thriller, in which at least four of the titular seven days feel like place-holders, with everyone holding their positions and regurgitating the same concerns and regrets and debates.

Most of the time I wasn't laughing. But when I was laughing, I was genuinely laughing - there are some absolutely inspired moments. This is the kind of movie that serves as a reminder that comedy is agonizingly difficult when it works, and even more trouble when it doesn't.

With a splashy Brazilian-themed musical score, top-notch voice talent and sharp-witted writing, the sequel to “Rio” is one delightful animated romp. It’s as good as the first one and sure to please both the kiddies and adults with its two-tiered humor.

It must have been even more exhausting to make this film than it is to watch it. But it's made with a kind of manic joy that makes me suspect its writer-director, Roger Roberts Avary, might develop into a considerable filmmaker, once he thinks of something to say.

A curiously unfocused Prohibition-era gangster epic with some well-choreographed action scenes, a few provocative plot threads — but an increasingly meandering main story line that goes from intriguing to confounding to preachy to what exactly are we even watching here?

The Beanie Bubble is a frequently funny and breezy reminder of the pure insanity of the craze surrounding plush toys with names such as Patti the Platypus and Peanut the Elephant and Iggy Iguana, with an nearly unrecognizable Zach Galifianakis capturing Warner’s childlike curiosity, admirable drive and disturbingly narcissistic and sometimes emotionally bruising persona.

The average issue of Mad magazine contains significantly smarter movie satire, because Mad goes for the vulnerable elements and Scary Movie 3 just wants to quote and kid.

It’s generally a respectful homage that has every bit as much stylishness and visual flair.

A good-looking movie with hard-working performances and a bubble-brained script, which nevertheless stumbles over a truth from time to time. Class Act could be a trial run for something really relevant.

This is a bitter, sour movie about two people who are only marginally interesting.

The movie is curious in how close it comes to delivering on its material: Sequence after sequence seems to contain all the necessary material, to be well on the way toward a payoff, and then it somehow doesn't work.

Not realizing that Inkheart is based on a famous fantasy novel, I had the foolish hope the movie might be about books. No luck. Wait till you hear what it's about.

Clever, done with skill, yet lacking in the cerebral imagination of the best science fiction.

I did not really enjoy this movie, and yet I recommend it. Why? Because I think it's on to something interesting. Here is a movie about a woman who never stops thinking. That may not be as good for you as it is for her.

I have the curious suspicion that it will be enjoyed most by someone who knows absolutely nothing about Shakespeare, and can see it simply as the story of some very strange people who seem to be reading from the same secret script.

A Saturday afternoon stop for the kiddies -- harmless, skillful and aimed at grade schoolers.

True, Aniston does maybe her best film work to date in Cake. But it’s definitely not her best film.

That incredible cast is utterly wasted, with major talents such as Perlman, Jones, Molina, Rhames and Hauser stuck in small supporting roles, playing underwritten, clichéd characters who drift in and out of the movie for a scene or two and then are forgotten.

This is no “Zero Dark Thirty” or “The Hurt Locker.” Lacking in nuance and occasionally plagued by corny dialogue, “13 Hours” is nonetheless a well-photographed, visceral action film, and a sincere and fitting tribute to those secret soldiers.

The actual case isn’t all that complex or compelling, and the eventual explanation for what happened is almost an afterthought. By the time all the ghosts and feuds have been put to rest, it’s surprising how little we care about these characters.

I think the fault is in the screenplay, which tells a story that can be predicted almost from the opening frames. The people who wrote this movie did not bother, or dare, to give us truly individual Japanese characters; there is only one who is developed with any care.

Highly entertaining high camp.

The movie's last 30 minutes are like a kick in the gut.

Jennifer 8 promises a plot of excruciating complexity, but the storyline turns relentlessly dumb. By the end the characters might as well be wearing name tags: "Hi! I'm the serial killer!" This is the kind of movie where everybody makes avoidable errors in order for the plot to wend its torturous way to an unsatisfactory conclusion.

To call A Lot like Love dead in the water is an insult to water.