The result is unconvincing and disorganized. Yes, there are some spectacular stunts and slick special effects sequences. Yes, Jones is right on the money, and Snipes makes a sympathetic fugitive. But it's the story that has to pull this train, and its derailment is about as definitive as the train crash in the earlier film.

It has smart characters, and is wise about the ones who try to tame their intelligence by acting out.

The movie is an invaluable experiment in the theory of cinema, because it demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted.

Jennifer Garner and Joel Edgerton are appealing together as far from perfect parents, and CJ Adams has that ability of so many child actors to be pitch-perfect.

The special effects are first-rate and the performances are way over the top yet entertaining, but The Witches is far too disturbing for young children and not edgy enough to captivate adults.

My Stepmother Is an Alien is a great idea for a movie, but it seems to have stalled at the idea stage.

I find movies like this alive and provoking, and I'm exhilarated to have my thinking challenged at every step of the way.

The first hour of Neighbors is probably more fun than the second, if only because the plot developments come as a series of surprises. After a while, the bizarre logic of the movie becomes more predictable. But Neighbors is a truly interesting comedy, an offbeat experiment in hallucinatory black humor. It grows on you.

All that could redeem this thoroughly foreseeable unfolding would be colorful characters and good acting. Everybody's Fine comes close, but not close enough.

This is a film so sweet it might give you a contact sugar rush, but it features two inherently likable, great-looking romantic leads, a fine supporting performance by the always reliable Virginia Madsen, a timeless true-meaning-of-Christmas message — and a genuinely cinematic style, mostly because the movie was actually filmed on Andrews Air Force base in Guam and the surrounding beaches and jungles and islands.

Now is Slipstream worth seeing? I think so, if you'll actively engage your sympathy with Hopkins' attempt to do something tricky and difficult. If you want to lie back and let the movie come to you, you may be lying there a long time.

So, yes: “Kate” is “John Wick” meets “Die Hard” meets “Collateral” meets “Kill Bill all the Volumes” and we’ve seen it all before and you’re not going to get much in the way of original plot, but what you WILL get is a grindhouse of a good time with some bleak and wickedly sharp humor, screen-popping visuals and some pretty great fight choreography.

Candy Cane Lane is harmless but teeters on the brink of being quite terrible.

As we pick up Billy/Shazam’s story about four years later, it quickly becomes apparent this is just going to be a by-the-numbers, second-tier adventure with only a few small chuckles and one or two genuinely touching moments. The rest is just noise.

There's little that's new in the material, and nobody seems to have asked whether the emotional charge of blatant racism belongs in a lightweight story like this - even if the racists are the villains.

Courteney Cox, well known from TV, rarely gets an opportunity to revise her famous image, but here she is serious, inward, coiled. She carries the film; the other characters circulate through her consciousness as possibilities and hypotheses.

Before it was even over, I was already forgetting about it.

Yes. The movie works, and so we accept everything.

Those tensions and conflicts produced, I believe, the right film for this material. I don't require that its makers had a good time. I'm reminded of my favorite statement by Francois Truffaut: "I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between."

What is remarkable about "Mr. Jones" is how clearly it communicates his feelings. We begin to understand why manic-depression is sometimes described as the only mental illness its victims enjoy - on the up days, anyway.

Bored out of my mind during this spectacle, I found my attention wandering to the subject of physics.

This is not a sermon or a homily, but a visualization of the central event in the Christian religion. Take it or leave it.

There is not a spark of chemistry between Chris and Jamie, although the plot clearly requires them to fall in love. There is so much chemistry involved with the Anna Faris character, however, that she can set off multiple chain reactions with herself, if you see what I mean.

A rambling, undisciplined, sometimes embarrassing failure from one of the most gifted comic filmmakers around.

El sleazo profoundo trasho zilch.

A big, slick melodrama that knows exactly what it wants to accomplish and does so with great craft.

Everyone in The Other Side of the Bed, alas, has the depth of a character in a TV commercial: They're all surface, clothes, hair and attitude, and the men have the obligatory three-day beards.

Filmed in the colors of newborn Technicolor, plotted as a tribute to the conventions of Hollywood romance, filled with standard songs, it's by and for people who love those kinds of movies. Others will find it cliched and predictable, but they won't understand.