It is a shame the film doesn't cast a wider net into deeper political waters – the outrage is barely scratched in this production.

There's no denying Banderas' talent as an actor, and he's admittedly fun to watch. The rest of the cast are serviceable, meaning Woodard finds new ways to show us how this Latin heartthrob melts her icy exterior.

Ultimately, David is a strong, solid film for kids. But I can’t help feeling the filmmakers were holding back on the true glory of God in this story.

While it is a glossy crowd pleaser, it still has a few typically off the wall, classic Miike touches.

Quirky and uncomfortable but hard to turn away from, Club Zero is reminiscent of Yorgos Lanthimos’s The Lobster, especially because it has a tone of below-average existence masked in contemporary and forward-thinking superficialities.

The director’s cut of The Current War moves at a faster pace than the original, the characters are better fleshed out, and the drama is more focused where it needs to be. The new cut has elevated the film from mediocre to interesting.

At almost 100 minutes, Lieber’s ode to surfing and overcoming obstacles stretches itself thin. Like the wildest waves Bethany seeks, Unstoppable needed to be more unpredictable, dangerous and, well, gnarly, dude.

At 100 minutes in running time, Dallas 362 can be called "The Amateur Hour-and-40-Minutes."

The real torpedo that sank this ship was that the source material wasn’t all that good, to begin with.

The Lion King is, for the most part, a shot-for-shot remake of the original from 1994, but unlike the Beauty and the Beast remake, this photo-realistic Lion King leaps ahead of the original as the better picture.

What it makes up for with sheer visual magic it lacks in coherent plotline.

There are some realistic, scary themes at work here that make it worth a look.

The reason I hate this movie so much (besides the fact that it sucked) is that there was so much behind it and it still was a bland.

While I admire Bishop Jakes and I frequently watch his sermons on TV, I have to question his tactic of charging people admission to generate hosannas on his behalf.

3 Days with Dad touches upon subjects like familial differences, living up to your parents’ expectations, sibling rivalry, and generational differences. Too bad it’s all been done before, and better. Its flaccid visual approach and meandering, morose plot may make you pull the plug on your TV set.

As genre hybrids go, After Midnight displays enough nuance and filmmaking savvy to qualify as a success.

I Am Here stands as a testament to the enduring qualities of the human spirit.

The original films left kids with a sense of wonder, and while it does not entirely stack up to the original trilogy, this will still leave plenty of kids dreaming of slick gadgets and cool spy chases.

The cast is a high point for the film, elevating the narrative and adding extra personality to each character.

The performances are great, the chemistry between the two leads is very good, and Ron Howard again proves himself a slick hand behind the camera. But like a lot of these power-packed pictures, there’s just something missing.

Watanabe's charismatic performance and a couple of colorful minor characters aside, The Last Samurai has little to recommend it.

There’s a lot of talent up there on the screen, and some authentic laughs, but too much of it is comedy territory that was claimed long ago.

What prevents Hostel from fully harnessing the suspense factor in its rising action, climax, and conflict resolution is the insufficient impetus to pity or to feel too badly for Paxton and Josh.

Rich with talent, this flick is missing that fundamental thing that sets one rom-com apart from the rest; a lasting feeling that what you’re watching matters, or means something.

Has just enough quirks and unexpected shocks along the way to keep things interesting.

Tammy’s Always Dying is a movie that does everything right but still somehow fails to be enjoyable. It is in every respect a good movie, but I can’t say that it was at all a pleasure to watch. It is well written, acted, and directed, and it skirts the line of overwrought melodrama and poverty porn.

Takashi knows how to make a great, sleazy Yakuza film, but what I’m missing here is that sense of something brand new.

This is a unique holiday horror experience that can be enjoyed year after year.

Alyssa Milano is a delight, but her ten to thirteen minutes of screen-time mark her as more of a distraction than substantiation.

The Bride is a delightfully insane romp that falls short of landing its message in mayhem. But what glorious mayhem it is.

It is a horrifying and devastating spectacle of life gone dreadfully out of control, yet it is also riveting and hypnotic in such a dramatic sensation that you are left breathless by the sequence of events which will haunt and torture for as long as your memory remains intact.

Neither a stimulating satire nor a serious exposure of the operations of the finance industry.

Will Ferrell is a fearless comedian, and he commits completely to his insanity in the film, and that makes it work.

It is frustrating to see this much raw talent on the screen, not to mention behind the camera, and to have had these people produce something that hints at so many complex things, but ultimately fails to deliver on them. It’s just a comedy, then. So be it, Jedi.

Higher Learning is John Singleton's interracial state of today's campuses version of School Daze minus the musical numbers. Surprisingly, it's just as much a gang movie if not more than Boyz 'n the Hood.

Folks read comics for enjoyment, not to admire how well the pictures are drawn, and the same axiom can be directed here with audiences likely to admire the work that’s gone into this film -- rather than joyously enjoying the film itself.

At first glance, the feature, which Johnson co-wrote and co-produced, may seem like yet another granola indie about a middle-aged man reassessing his life. And it is. But there’s magic to it.

Although skirting the inexplicable and the absurd, Assassination Nation is a pulpy and immensely entertaining roller coaster, hallmarked by its relentless sociocritical bite and refined cinematic craft.

While most of the plot of An Evening with Beverly Luff Linn feels like several different movies working at once, they all converge into a bizarre, madcap finale.

It shows just how much can be done by a single actor on a single set with a filmmaker full of determination.

The surprise is the remarkable script from screenwriter (Zack Weiner) and the sharp-eyed direction from Daniel Robbins who work to take an idea we have seen a million times before and turn out something new and fiercely entertaining.

Just the type of small film that, if given a chance to be seen by audiences, could become somewhat of a hit for grownups ala "Sideways" or "The Squid and the Whale."

If distinctly uneven CGI, minimal originality and overly convenient plot devices turn you off, this may not be your film.

Rickman and Weaver sell it, and the utterly heart wrenching finale is the big pay off, and the experience is worth it.

A dark comedy whose story is propelled by shock but sustained by issues of love and forgiveness.

In truth, there's not much point to reviewing Adam Sandler comedies. They're almost always widely panned, and yet still manage to earn well over $100 million domestically. Don’' Mess with the Zohan looks to continue both trends, even if exaggerated Yiddish accents and sex with the elderly only take one so far.

While a bit disjointed, the film does offer hidden beauty in a world of seemingly discontent and boredom.

One Missed Call plays like a good cover song. It's not just a repetition of the previous tune.

Unpredictable, impassioned (despite the cold tone), and highly artistic, Ladyworld might contain a few amateur touches here and there, a few lags in momentum (and an utter lack of mainstream appeal), yet it’s cerebral and forceful, and will have you deliberating its themes for days after.

All in all, The Conjuring: Last Rites is a well-made film. I might even call it the best Conjuring film since the original. It could pass as a great drama if you removed the jump scares and other horror tropes.

Affleck is dead on as the hapless Jim but the film is nearly stolen from him by Mark Boone Jr. who plays Jim's drug induced Uncle Evil. Kevin Corrigan is also great as Jim's brother Tim.

The portrait drawn by this film is of a man loved and/or respected by nearly all that have known him.

Billie Piper’s first feature-length movie as screenwriter and director may have bitten off more than it could chew, but it is a daring debut that marches to the beat of its own drum. I respect it for that and enjoyed it more often than not.

This film is gorgeous, massive in scope, well-written, and superbly acted. It goes beyond being a Michael Bay-explosion fest and definitively transcends action and destruction porn. This is a real movie. Every single issue I had with the original release is fixed—everything from pacing, cinematography, acting, characterization, and even the film’s score.

Clones is not a good movie -- but it is an incredibly awesome Star Wars movie! This is far from a perfect film, but the problems are almost dismissable based on the final result.

Horror’s goal is simply delivering fun. The thrill of constant frights releases rollercoaster-level endorphins the fans can’t get enough of the rush. Blood Fest shoves it right in our faces and then some. Get ready to bleed.

What makes I Am Woman worth watching (and recommending) is the importance of Helen Reddy’s story, predictable as it is.

The stars have zero chemistry and the movie is none too thrilling.

If you like Chan's Hong Kong films, you'll like this. Much of the "dramatic" work and dialogue are horrible but the stunt work here is actually superior to many of Chan's films.

Nothing more than a big old chunk of horse poop.

If the first two "Batman" movies (1989/1992) were the storm, then Batman Forever (1995) is the rainbow at the end of it. After seeing so much dark and doom, it’s also refreshing to see some beaming color.

To its credit, the film's costume design is stunning. But unless you have a kimono fetish, there's no reason to pay a good dollar (or a yen, for that matter) on this junk.

Too much thought has been put into this one to write it off as a mere, well, write-off. But it’s also too slap-dash to be labeled a classic, nowhere near on par with Peter Jackson’s original trilogy. A curiosity then, worth checking out, especially for the devoted.

We still love you, Terry. Happens to the best of us. But, man, what a stinky load. Someone get the hose.

Zombie has a great eye and ear for the look and sound of the genre. From the over-saturated yellow desert to the sound of a newscast. He’s got it down perfect.

Salvable fully embraces its bleakness, its title almost mocking; there’s no salvation here. If it had a bit more originality or verve, it could potentially have pulled it off.

I really liked this film more than I did “An Inconvenient Truth,” as Everything’s Cool made the subject matter into a palatable form that actually made it interesting instead of depressing.

Since the film has a loose storyline, it allows the comedy to shine. We are even treated to an awkward dance scene at the film’s end. Gordon and Abel emulate the humor of great slapstick comedians in their own unique way. If quirky comedy is up your alley, check it out.

Get ready for a heart-pumping experience with Arthur the King—a sports drama that will leave you cheering for more.

Where Song of the South errs badly is in its regurgitation of the horrible myth that black slaves were always singing and happy and just loved working on massah’s plantation.

There isn’t much story before the shooting starts, so watching the stuff that doesn’t blow up adds nothing.

LaBute rewards patient viewers with two amazing lead performances, crackling dialogue, and genuine suspense. While the film might be flawed, it is imminently watchable.

Strays hits my sweet spot in comedy. It is goofy, silly, and filthy. Your mileage may vary, but I can’t wait to see this again.

Apocalypse Clown is a little too serious to work as a comedy, and a bit too comedic to work as drama. But the writers have paid attention to their narrative and have ensured that every plot strand comes together at the end. Plus, the cast, especially Palamides, is really terrific.

Kirk and Mol are convincing, easily inhabiting their respective roles.

The movie is fun, and hilarious, because of its child-like whimsy.

Could have been a beautiful and suspenseful thriller, lukewarm performances make the film just another movie to add to one's "rent-it-when-it-comes-to-DVD" list.

Unlikely but winning farce.

On the whole this is pretty standard shoot-‘em-up fare. Bang, crash, boom -- yawn.

The one lesson learned from watching this film is that Canadians can make movies just as badly as anyone else.

As far as “summer movies” go, this one is a ride that’s worth taking, and will not leave you disappointed! It’s fun, and it’ll make you think, so what more can you really ask for?

As it stands, it’s not much of an indictment. As honorable as her intentions may be, Bibeau ends up blowing the whistle so incessantly, it sort of leaves you deaf.

The quiet pace of The Road Dance, along with the ebbs and flows of the events around the characters, give it an authenticity and space to feel the impact. You may be captivated just as the filmmaker and I were.

Though I may not have connected with the final product as intended, if the idea of a psychological thriller about pregnancy appeals to you, then the movie might be your cup of tea.

This period drama may be a bit slow during some scenes, but the devious dark plot is such a pleasant surprise the payoff is worth it. On top of that, The Critic has a beautiful score, excellent set design, and great cinematography.

As ambitious as this alleged art film may appear - the Bunuelian title proves to be more of a starting point than a true allusion - it lacks any introspection to illuminate the erotic subject matter. (Think Michael Bay attempting to remake "Y Tu Mama Tambien.")

Rather than an over-reliance on special effects, Captive State thrives on the riveting performances from specifically from John Goodman. This is a cat-and-mouse game between the authoritarian pawns of the aliens with immense technological power and the resistance hiding in plain sight. This is one of those films that will have you thinking in the end.

With a stronger actress who could have been in greater command of the character, Freeze Me would have been a cold-hearted masterpiece rather than the okay thriller it turned out.

Cera once again does his "Michael Cera thing." Personally, I love his "thing" but know it’s not for everyone, and I agree that it doesn’t always work contextually. But trust me, here it really works.

Carion, along with his co-screenwriter Laure Irrman, leave things annoyingly unexplained – which would be fine in a poetic meditation on loss and grief that purposefully raises more questions than answers, but is indefensible in a neither-here-nor-there pseudo-intellectual thriller.

How to Please a Woman is not the usual romantic comedy that everyone expects to see these days. It is trying to connect with a specific audience, and I think it is successful in doing so.

The Cuban does not develop everything in its screenplay to complete satisfaction. But what’s there is very good and believable. Combine that with the jaw-dropping directing and visual style, along with the pitch-perfect cast, and you are left with a compelling drama that is well worth it, flaws and all.

The art direction and attention to detail in The Boys in the Boat are beautiful and well done, especially capturing the feathering of the rowing, the splashing and pools of water, and the creek of the rigging as the team of eight turns the oars with muscle and unison.

You either get it or you don't.

The problem with Stray is that it doesn’t ever connect with the audience, with the exception of Murphy’s back story. The mystery just unfolds, and we as the audience never engage in the mental exercise of piecing clues together and finding an answer.

Becky is a thrilling game of cat-and-mouse that leaves you unsure if the good guy is really that good at all. It’s funny at parts, shocking in parts, but mostly it’s just a great thriller that just so happens to have a 13-year-old girl as the heroine.

For the most part, Gerry is a lot of self-indulgent baloney.

Banks ends up with a glossy Hollywood flick disguised as a straight-to-VOD grindhouse title. It feels dishonest, forced, and overstuffed.