On the Basis of Sex is almost always solid. But “solid” is about as high as it goes.

This is an artist’s coming-of-age story featuring a wonderful actress who’s unfortunately not right for the role; a shambling screenplay that has characters wandering in and out of the story as if in search of their own movie, and not one but two of the most off-putting patriarchal figures in recent memory.

Brando doesn't so much walk through this movie as coast, in a gassy, self-indulgent performance no one else could have gotten away with.

Competent formula entertainment, but doesn't make that leap into pure barminess that inspired "Anaconda."

In the bland and outdated and curiously tame would-be sex rom-com “A Nice Girl Like You,” Hale once again tries her gosh-darndest to sell the material — but even though this toothless yawner is based on a real-life memoir, every single frame feels artificial and forced.

Pitch Perfect 2 strains to find some plot conflicts while balancing the line between satire and rousing musical numbers.

Told in flashback, with David revisiting the past as he rides into his future on an artifically lit train, The Neon Bible glows darkly on the outside, but its pilot light is barely flickering. [05 Apr 1996, p.33]

This is a shoddy-looking, superficial and cliché-embracing effort that misses the mark at every turn.

To call this a Netflix Original movie is only half-correct. True, it’s on Netflix, but no, there’s nothing original about this uninspired knockoff of “Fatal Attraction” (even the title and the poster borrow from that 1987 classic of the genre), which is marred by stilted dialogue, predictable plot turns and surprisingly halfhearted performances from a talented cast that acts as if they know this is slick garbage and they’re just trying to make it through the shoot so they can call their respective agents and say, “We need to talk.”

All of the characters are treated sincerely and played in a straightforward style. It's just that we don't love them enough.

It's strange about Stir Crazy. We go in with big expectations, and we laugh so much at the beginning that we're ready for the movie to launch itself as a hit. And then it all goes flat and we come out disappointed.

There are a lot of logical gaps in this movie.

The movie's fatal flaw is to treat her [Moore] like a plucky Sally Field heroine. That throws a wet blanket over the rest of the party.

The comedy bogs down in relentless predictability and the puzzling overuse of naughty words.

Almost nothing about Illicit rings true — but thanks to the likable, earnest and attractive cast, and the semi-salacious, soap-opera vibe to the proceedings, my attention never wandered, and I’ll admit I was mildly curious about how everything would play out.

The putatively provocative and wannabe-controversial erotic thriller “Miller’s Girl” is a sordid little tale that isn’t nearly as clever and literary as it tries to be, nor is it as deliberately campy as 20th century entries in the genre such as “Wild Things” or even “Poison Ivy.”

The acting is actually pretty solid. These characters are never in the same room, so the performances amount to a collection of solo scenes. But these kids aren’t likable. Perhaps director Gabriadze and writer Nelson Greaves intended to create a Social Media “Scream” and a commentary on cyber-bullying, but Unfriended comes across as disdainful of millennials.

There’s gratuitous nudity, lots of partying, zippy camera moves, plenty of product placement and did we mention all those celebrity cameos? It all feels more like a rerun than a fully formed, stand-alone movie.

As we switched relentlessly back and forth between A and B, I found that I wasn't looking forward to either story.

It is not what's there on the screen that disappoints me, but what's not there.

Dad is a case of a movie with too much enthusiasm for its own good. If the filmmakers had only been willing to dial down a little, they would have had the materials for an emotionally moving story, instead of one that generates incredulity.

Follows the "Lock, Stock" formula so slavishly it could be like a new arrangement of the same song.

D. C. Cab is not an entirely bad movie -- it has its moments -- but if it had used more actual taxi-riding incidents and more recognizable driver types, it could have been a little masterpiece.

A gorgeous but plodding and borderline ludicrous period-piece weeper.

I praised "Lovely & Amazing," which also features a romance between an adult woman and a teenage boy. But "Lovely & Amazing" is about events that happen in a plausible world (the adult is actually arrested). Tadpole wants only to be a low-rent "Graduate" clone.

The movie cuts back and forth between two preposterous plot lines and uses the man on the ledge as a device to pump up the tension.

You may be able to find parallels between these characters and those in "The Breakfast Club." On the other hand, you may decide life is too short.

There may be possibilities here, but they're lost in the extraordinary boredom of a long third act devoted almost entirely to loud, pointless and repetitive action.