Imagine how great it would be to see a vehicle worthy of the respective likability, comedic chops, intelligence, onscreen charisma and beauty of Tiffany Haddish and Rose Byrne. No, I mean you’re really going to have to imagine that, because Like a Boss is not that movie.

There are countless comic possibilities in Last Resort, most of them unrealized. The movie seems to have depended on a concept rather than a screenplay. Characters are set up, and never pay off.

This is a full-bore, PG-rated, sweet rom-com. It sticks to the track, makes all the scheduled stops and bears us triumphantly to the station. And it is populated by colorful characters, but then, when was the last time you saw a boring Irishman in a movie?

Armand Assante, on the other hand, is one of the best movie actors of his generation. But he isn't very funny in Fatal Instinct.

The Punisher is so grim and cheerless, you wonder if even its hero gets any satisfaction from his accomplishments.

The movie makes two mistakes: (1) It isn't very funny, and (2) it makes the crucial error of taking its story seriously and angling for a happy ending.

The January Man is worth study as a film that fails to find its tone. It's all over the map. It wants to be zany but violent, satirical but slapstick, romantic but cynical. It wants some of its actors to rant and rave like amateur tragedians, and others to reach for subtle nuances. And it wants all of these things to happen at the same time.

The Shack is a well-acted and sometimes moving but far too often slow-paced and unconvincing spiritual journey.

The Fan would have worked better had it dissected the mechanics that shape celebrity adulation. Instead, The Fan takes a knife-wielding action route that leaves film fans feeling - dare I suggest it - cheated? [16 Aug 1996, p.35]

The curious case of two appealing performances surviving a bombardment of schlock.

It’s a well-photographed story with an intriguing setup, but soon we’re mired in a meandering, stilted story with forced dialogue and some surprisingly subpar performances from the talented cast.

October Baby is being promoted as a Christian film, and it could have been an effective one. Rachel Hendrix is surprisingly capable in her first feature role, and Jasmine Guy is superb in her scene. Unfortunately, the film as a whole is amateurish and ungainly, can't find a consistent tone, is too long, is overladen with music that tries to paraphrase the story and is photographed with too many beauty shots that slow the progress.

It knows the words but not the music; while the Farrelly brothers got away with murder, The Sweetest Thing commits suicide.

To spend 82 minutes watching Not Another Teen Movie would be a reckless waste of your time, no matter how many decades you may have to burn.

Age of Extinction is just another warmed-over, cynical, ATM machine of a movie. It’s soulless eye candy.

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

The result is a very unfunny movie. It's routine, predictable, and dumb - real dumb.

The movie doesn't know how odd it seems to cut from the bloodshed in the ring to the dialogue of the supporting players, who still think they're in a comedy.

An astonishingly bad movie, and the most astonishing thing about it comes in the credits: Written by Elaine May, Warren Beatty, Chris Rock, Lance Crouther, Ali LeRoi and Louis CK. These are credits that deserve a place in the Writers Hall of Fame.

Of the two co-stars, what I can say is that I’m looking forward to their next films.

An aggressively unwatchable movie.

The actors do their best. The problem here is simply a formulaic screenplay and less-than-inspired direction.

This is a disaster by committee.

Certainly better than "Transformers: Revenge of the Fallen." How so? Admittedly, it doesn't have as much cleavage. But the high-tech hardware is more fun to look at than the transforming robots, the plot is as preposterous, and although the noise is just as loud, it's more the deep bass rumbles of explosions than the ear-piercing bang of steel robots pounding on each other.

A vanity production beyond all reason. I am not sure, however, than the vanity is Dylan's. I don't have any idea what to think about him.

You remember Captain Video. He was a science fiction hero on the old DuPont TV network. He and his trusty sidekick (Bucky? Rocky?) were forever landing on strange planets and sneaking around rocks. After three weeks, you realized that the rocks were always the same. Same here.

On its own terms, this movie is diseased and corrupt. I would have admired it more if it had found the courage to acknowledge the real relationship it was portraying between Howell and Rutger, but no: It prefers to disguise itself as a violent thriller, and on that level it is reprehensible.

This loud, bombastic, often incoherent mishmash of magical-themed storytelling simply was not worth whatever effort went into it. While there are some acceptable action sequences, it’s the screenplay — complicated by some less than inspired performances — that dooms “Warcraft” at every point along the way.