Hal Hartley is on his way to creating a distinctive film world, and although Trust is not a successful film, you can see his vision at work, and it's intriguing.

It's all recycled material from other movies - all except for some nice personal touches added by the actors. They bring style to a movie that needs it.

How much more interesting is a film like "(500) Days of Summer," which is about the complexities of life, in comparison with this one, which cheerfully cycles through the cliches.

The Longest Ride” treats us to a twist that’s so ridiculous I think we’re almost supposed to laugh. It’s not quite on the “Are you KIDDING ME!?” level of awfulness as the big reveal in “Safe Haven,” but it’s close. It’s close.

The movie never really comes together, and I think the fault for that begins with Williams. When the star of a movie seems desperate enough to depend on one-liners, can the rest of the cast be blamed for losing confidence in the script?

The Bubble is ultimately a mediocre movie about the making of an even worse movie.

The movie is clearly intended for girls between the ages of 9 and 15, and for the more civilized of their brothers, and isn't of much use to anyone else.

A mild pleasure from one end to the other, but not much more. Maybe that's enough, serving as a reminder that movie comedies still can be about ordinary people and do not necessarily have to feature vulgarity as their centerpiece.

Now comes Foe, which is set primarily in the year 2065 and envisions a dystopian world in which the delicate and dangerous balance between humans and sentient AI creations is the basis for a pretentious and empty cautionary tales with some interesting ideas — but it’s mostly a pile of hokey claptrap.

This movie is all elbows. Nothing fits. It doesn't add up. It has some terrific free-standing scenes, but they need more to lean on.

Maybe Muppets from Space is just not very good, and they'll make a comeback. I hope so. Because I just don't seem to care much anymore. Sorry, Miss Piggy. Really sorry.

Foster, I believe, sees right through this material and out the other side, and doesn't believe in a bit of it.

Who was Joseph Fiennes channeling when he chose this muddled tone? Obviously he was reluctant to gave a broad, inspirational performance of the kind you find in deliberately religious films.

I didn't find “The Jerk” very funny...There's a smarmy undercurrent in this movie that seems to imply that Steve Martin may be playing a jerk, but that we all know what a cool guy he is. Well, if you're going to play a jerk, play one as if you think you are one, or you might wind up looking like a jerk.

Shatner and Smart have a comfortable chemistry, and it IS nice to see a movie romance between two people who remember the 1960s. It’s just too bad they’re in a vehicle that isn’t nearly as impressive as that vintage Porsche.

Ride Along 2 is the movie equivalent of a cover band. We’ve seen it all before, and often in much better films.

The plot in Throw Mama from the Train is top-heavy, but the movie doesn't make as much as it could from its weird characters.

Johnny Mnemonic is one of the great goofy gestures of recent cinema, a movie that doesn't deserve one nanosecond of serious analysis but has a kind of idiotic grandeur that makes you almost forgive it.

It’s often fascinating stuff, but the whole thing comes across as a film new employees would watch on their first day of work, right after filling out all the packets of forms in Human Resources.

There is nothing to complain about except the film's deadening predictability and the bland, shallow characters.

Hicks may devote too much time on hospital errands and bedside moments as Terry’s health declines. But he succeeds at honoring the career of one man who is helping another’s.

At one time or another, Casino Royale undoubtedly had a shooting schedule, a script and a plot. If any one of the three ever turns up, it might be the making of a good movie.

There are moments of surprising tenderness in Fading Gigolo, and Turturro gives us some beautiful shots of a city he clearly loves. But this film is all over the map, veering from pathos to absurdist comedy to romance to weirdness for the sake of weirdness.

Texas Killing Fields begins along the lines of a police procedural and might have been perfectly absorbing if it had played by the rules: strict logic, attention to detail, reference to technical police work. Unfortunately, the movie often seems to stray from such discipline.

Here is a movie that ignores the Model Airplane Rule: First, make sure you have taken all of the pieces out of the box, then line them up in the order in which they will be needed. Bringing Down the House is glued together with one of the wings treated like a piece of tail.

For all the gorgeous visuals in Brighton and Venice, and the scandalous-for-its-time storyline about a married man carrying on a torrid love affair with another man when being gay was literally a crime, My Policeman never really resonates.

The talented writer-director Ana Lily Amirpour raises the crazy stakes with a well-made, sometimes darkly funny and at times bizarrely entertaining film that eventually falls apart due to directorial self-indulgence, excessive grotesquery, a bloated running time, too many half-baked messages—and let’s not forget the distractingly campy appearances by Keanu Reeves and Jim Carrey.

Everything about “Uglies” is average. Not terrible enough to be campy, not deep or provocative or visually impressive enough to merit further chapters in the story.