The best things about Brooklyn's Finest are the one-on-one scenes. These are fine actors.

M. Butterfly does not take hold the way the stage play did.

My thoughts turn to the Giant CGI Anacondas in “Snake Eyes” and what their lives are like in between meals — and if that sounds ridiculous and outlandish and weird, welcome to this bombastic, slick, convoluted and unnecessary second-tier action franchise reboot.

I don’t think you and I need to connect on InstaSkypeChatFaceSnapTweeterBook for you to understand I’m saying we’ve seen this movie before. It’s just usually not this smug or condescending or muddled or inconsistent.

Shyamalan being Shyamalan, Glass does have a distinctive look and some pretty cool moments, and a half-decent twist or two. Mostly, though, it’s an underwhelming, half-baked, slightly sour and even off-putting finale.

It looks great. The technical credits are impeccable, and Clooney and Kidman negotiate assorted dangers skillfully. But it's mostly spare parts from other thrillers.

It's fast-footed and fun. "Rugrats in Paris" had charms for grownups, however, Recess: School's Out seems aimed more directly at grade-schoolers.

In a summer where the special effects in movies have grown steadily more repetitive and dreary, "LCTR:TCOL" uses imagination and exciting locations to give the movie the same kind of pulp adventure feeling we get from the Indiana Jones movies.

Did you (Garry Marshall) deliberately assemble this movie from off-the-shelf parts or did it just happen that way? The film is like a homage to the cliches and obligatory stereotypes of its genre.

Williams has extraordinary success in channeling this other person.

The Great Gatsby is a superficially beautiful hunk of a movie with nothing much in common with the spirit of F. Scott Fitzgerald's novel.

The film is a consistently funny gem with moments of inspired lunacy.

Thanks in large part to Costner’s robust, earnest, growling, deadpan voice work as a dog who can be brilliant one moment and fantastically clueless the next, “The Art of Racing In the Rain” still comes close to winning us over … Until the final scene, which was so shameless and manipulative, I wanted a refund on every lump in the throat and teary-eyed moment I had experienced to that point.

The occasionally clever dialogue and the peppy voice performances are the best things about Scoob!, but not nearly enough to overcome the loud and convoluted overall tone.

Like the original 1963 movie and the TV series, it expects us to be endlessly amused by a dolphin that does things that are endless but not amusing.

Here's a movie that's well visualized, that does a riveting job of exploring an authentic subculture, that has a fairly high level of genuine suspense from beginning to end. . and that then seems to make a conscious decision not to declare itself on its central subject. What does Friedkin finally think his movie is about?

At some point during the pitch meetings for D.E.B.S. someone must certainly have used the words "Charlie's Lesbians."

The individual parts never come close to fully meshing into a quality team effort.

The Texas Chainsaw Massacre, Part 2 carries a proud old name in the annals of exploitation, but its only ambition is to outgross the original film. It fails.

Soppy and sentimental, it evokes "Divine Secrets of the Ya-Ya Sisterhood" without improving on it.

Given the unapologetic, sharp-edged tone of Burr’s comedy, it’s surprising that as director, co-writer and star of this vehicle, he played it so safe.

The modern retelling retains little of the charm and whimsy of the source material, in favor of a cloying story, a most unwelcome new character and some pretty cheesy special effects.

Unfrosted is one of the worst films of the decade so far.

A deplorable film with this message: If you're a 14-year-old girl who has been brutally raped and murdered by a serial killer, you have a lot to look forward to.

The problem with G is not merely that the ending doesn't work and feels hopelessly contrived. It's also that the plot adds too many unnecessary characters and subplots, so that the main line gets misplaced.

If Depardieu seems right at home in My Father the Hero, perhaps that is because only two years ago he made a French film called "Mon Pere, Ce Heros," with exactly the same plot. I saw it, and would say it was more or less exactly as appealing as this English version.

A witless recycling of the H.G. Wells story from 1895, with the absurdity intact but the wonderment missing.

Sweet, light entertainment, but could have been more.