Rashid's love of cinema is obvious in every frame. He interweaves nostalgia with modern subject matter. Pace and comic timing are perfect.

Despite missing some needed scenes to carry forward the lead’s emotional throughline, this is a good film that is sure to resonate with its core demographic.

It helps immensely that Hart and Cranston play off each other well; or at least when the script is not getting in their way.

Time Trap is highly creative, populated with relatable characters, with a whip-smart script. Sadly, the very end of the movie undoes the tense atmosphere setup throughout. While it does not ruin the film, it does leave one a bit disappointed.

Could have been both a gripping courtroom drama and a chilling "is she or isn’t she?" horror tale. What we have instead is a movie that drifts, almost unmanned, from plot point to plot point.

The movie wastes the talents of its two leads by refusing to take any risks with the material, marching in lockstep to every genre cliché.

In these divided times, films centering on political issues either make an earnest attempt to persuade the other side to consider its point of view or play to its political allies and demonize its enemies. The Public does the latter, and the result is to further widen the divide of political discourse with self-righteous finger-pointing.

Even though this is just a blood-stained shadow of Argento’s previous masterworks, the fact that he has produced something worthwhile again is a cause for celebration.

The standout star here is Cailey Fleming as Bea.

Instant Dreams makes a strong case for the necessity of instant photography. Its three main subjects are compelling and well spoken. The film’s powerful, hypnotic images, and the mesmerizing score only add to the dream-like atmosphere being conveyed.

Top it off with a cameo by the real-life Phil Kaufman, and you've got a rock'n'roll road movie like no other. Wherever he is, Gram should get a kick out of it.

I especially enjoyed that it was more than just a straight-up boxing film.

Lee’s film never escapes its B-movie roots, nor does it try to, embracing its own pompousness.

Hero Mode might make some adult viewers roll their eyes or just groan with its misunderstanding of technology. But the screenplay offers up some genuine laughs along with a general sweetness making it great for viewers of all ages.

The concept is original, and the film spends a lot of time misdirecting or not explaining things thoroughly, adding an intriguing layer of mystery. The questions the film asks about life, love, and morality are heavy but not so much as to weigh down everything.

Even though it doesn’t stick to the landing, this is a fun watch with some cool ideas.

If you can wait until near the end, you're in for some fun. But after an hour-plus, it's a pretty long wait.

If the slightly generic Yes Man is symbolic of the new, happier Jim Carrey, then it is a small price to pay for his piece of mind.

Content-wise, Cruise is dull, with a script that brims of potential but is done injustice by uninspired leads.

By taking its time setting the stakes for all involved, when the action strikes, its impact is witnessed more through the cast rather than a cadre of CGI explosions.

The visuals make this feel like an actual Western, even though it doesn’t have the epic scale of the great Hollywood Westerns.

The romance here is rich and the laughs plentiful.

From its unimaginative opening, involving a dumb tourist falling to her death to the anticlimactic day-lit finale (if you get this far, you deserve some sort of Steve Irwin award), Black Water: Abyss will make you want to Crawl back into Lake Placid. To reiterate: if you’ve come for the croc, you’ll be sorely disappointed. If you’ve come for anything else… well, why did you come at all?

Better than I expected, but since I expected it to be a horrific failure, that isn’t saying much.

A great film and an important one.

It rebounds in the last moments and I thought successfully blended satire, high camp and yet another sexual taboo into a really funny movie.

It's just dumb.

Krull provides much swashbuckling cheese. But that’s precisely what gives the film a coy, relative appeal. Despite his role’s poor definition, Ken Marshall delivers Colwyn with some charisma. Krull also features engaging art direction, including The Beast’s jagged, globe-hopping fortress, and ambitious make-up effects that–if nothing else–seems a real challenge to function in.

None of the set pieces are inventive, and the dialogue is either overly serious or hacky ha-has. In addition to the bland everyman at the center of the story, all the supporting characters are soulless mouthpieces.

A genuinely brilliant cast--Robin Wright Penn and Katie Holmes are especially notable--distinctive camerawork, and terrific art design all contribute to this unique blend of fantasy and reality that truly transports the viewer to a magical realm.

Could be subtitled “The Parade of Overrated Actresses.”

Broken Lizard manages to poke fun at the genre without falling into the trap of recycling old Scooby-Doo jokes.

Evening”has so much going for it. A great cast, amazing visuals, and solid directing throughout. So why did I leave the film saying aloud to the parking lot, "I didn't like it."

This feels like a high-budget television drama. Let’s face it, Jackman, Dern, and Kirby can elevate pedestrian dialogue, but they deserve higher quality work for their talent.

Kills itself with unrestrained negativism, but almost resuscitates itself with some great comedy.

What is lacking in the script is made up in the action sequences and scene compositions thanks to Fleischer’s vision. Though the main cast struggles to overcome the limitations of the screenplay, their banter and playfulness are enough to make me willing to sit through another installment of this potential franchise.

A profoundly unnecessary movie, The Girl From Monday is an embarrassment.

Smart, complex, and engrossing idea-driven action thriller.

This Brazilian thriller blows a heck of a lot of hot air, but really doesn’t deliver on the ass-kickings it so threatens.

Dreadful.

This is a great little thriller with some genuinely creepy moments.

The only mildly interesting bit of casting comes from bringing Cartwright back (as one of Bennell’s patients).

The film is, like "Super Size Me," extremely entertaining and, again, Spurlock shows that if it's one thing he knows how to do well, it's the first 10 minutes of a documentary.

A better-quality sequel, but that wasn't really too difficult. The original was one of the worst movies of 2005, and while "Rise" won't win any awards, it's (mostly) less offensive than its predecessor. Faint praise, but I'll be damned if I go any further than that.

Too much of the time, Jackson is a complete blank, like he's bored with his own story.

Firewall’s predictable second half betrays the film's early promise.

What this movie needed was a leaner narrative focusing on Earl and Marshall while keeping Moore’s character in the background. What we end up with is a goofy and occasionally enjoyable mix of horror, comedy, and action that can’t entirely shed its excess narrative flab.

Heavy-handed melodrama that rises above its manipulative trappings on the solid performances of the cast.

This is by the books in every way, funny and undemanding ... and also rather sweet and heartwarming.

With nothing in the way of inspiration coming on either the writing or directing end, it's up to the actors to maintain audience interest and emotional engagement, and two members of the cast rise to the occasion: Kline and Christensen.

The script offers up some deviously clever twists and dark laughs reminiscent of the over-maligned French (coincidence?) Stewart spite-a-thon, “Love Stinks,” only with a jaunty European twist.

It is definitely the weakest movie of the Weitz catalog and will certainly be forgotten faster than Hung himself.

A Minecraft Movie is not funny, exciting, or clever.

What’s a muscular guy like John Cena doing in a flabby movie like this? This connect-the-dots action-adventure may appeal to undemanding ten-year-old boys but will bore everyone else.

The problem with Sandler’s latest movies is that he now feels the need to inject some sort of dramatic conflict in order to complete his character’s shallow story arc of maturation/redemption. Introducing such mawkish sentimentality causes the humor level in his films, never that elevated to begin with, to sink like America’s credibility overseas.

The able cast can't swim through the muck.

Blue Night plods along for 96 Minutes, creating a surface-level exploration of its character’s life.

The original “Elizabeth” was visually lush and quite engaging, but this is a sprawling mess.

There’s something fundamentally unconvincing and contrived about the story. Forget the fact that O’Connor hauls out every cliché in the bad cop handbook and the dialogue is more boilerplate than hard-boiled. The premise itself is just plain preposterous.

Goes south early and its director never comes close to turning things around.

Strip out the thriller moments and you have an interesting film, instead, we’re left with a mediocre thriller that phones in the final act.

In spite of the horrific dialogue, and even worse acting, there’s actually something to be said for Zombie Strippers!

It’s a weak sequel, to a weak series.

Kevin Bacon's witty and effective, yet squirm-inducing, directorial debut.

My suggestion is to avoid this film and instead rent Open Your Eyes (Abre Los Ojos) the film upon which Vanilla Sky was based.

The first half of the film is engaging enough to overshadow the missteps of the final act. It's a down and dirty look at the world of the ko gals, but it has class.

The film makes an honest effort to present this story as intelligent and thought provoking, but ultimately falls flat because it doesn’t provide enough reasons to care.

The biggest problem with Elizabethtown isn't in its shopworn theme, but that it's perhaps the first of Crowe's movies (though "Jerry Maguire"comes very close) that really feels forced.

Something of a surprise: a gay-oriented feature that is genuinely touching and sincere.

In The Burning Plain, another directorial debut, sensationalism is on order, but it's buttressed by fear, suffering, and desire – the schizo-blend that makes Arriaga's scripts so unique.

Writer-Director Paul Etheredge-Ouzts has a clear understanding of the beauty of a slasher film. A formulaic genre, it’s not the blueprint that’s important, it’s what you do inside it that matters.

A spot-on homage/parody of bad 1950's sci-fi movies.

It's disappointing that he (Soderbergh) couldn't make something more cohesive out of his admirable experiment.

There are a few priceless moments, like Dr. Sangster trying to work on a patient, while removing a hot pink pair of panties from a nearby chair, and the discovery of a stuffed bunny complete with a full set of dentures on his fiance's bed.

Ends up feeling like just another uneven British crime drama.

If you go in thinking it’s just a stupid teenage sex comedy, it can be pretty funny.

Even understanding the audience for which Kicking & Screaming is aiming, it's hard not to notice the flaws.

All the while Madea's wit, which is refreshing on the stage, feels spurious and often misfires.

Lanksy is a workman-like film with decent production values, but Rockaway is not Scorcese or Coppola. There are no great faults to find with it, except one: fans of the genre have literally seen every element of it before.

For a sequel/reboot, Ghostbusters: Afterlife delivers the fun of the original, albeit in very different ways.

Spends too much time straddling the line between exuberant carnage and serious plotline when it should've gleefully backflipped into the former. Grudgingly recommended, but only if you've put your cerebral cortex in neutral for the evening.

Lindsey Shapiro has captured an intriguing piece of hidden history, showcasing women’s strengths and the overlooked roles they played during the world’s most turbulent times of war.

Yes, it’s all uber-violent, in-your-face, completely lacking sophistication – but I’ll be damned if it’s not entertaining.

There’s really only one reason to see Fisherman’s Friends, and it’s the singing.

Jesus Nebot pulls off the impossible task of not only being the writer, director, producer, and star of the film No Turning Back, but makes it all work into a satisfying and socially conscious film as well.

One of those guilty pleasures of the summer. It’s also one of those action movies that could have been ruined if Jerry Bruckheimer had taken charge of it.

The notion of exploring how a young boy views the world through his manipulative older sibling’s eyes – and how poverty affects that developing worldview – is not a bad one. It’s just delivered haphazardly. I applaud McAulay’s efforts, but Don’t Tell a Soul is at its best when it’s simply having fun as a silly B-flick. Shut your brain off, enjoy – and, like with any guilty pleasure, don’t tell a soul you liked it.

Mondocane is the finest Italian post-apocalypse movie ever made.

The performances from the film's three stars are all top-notch.

A style-rich, substance-weak B-level gangster movie which is noteworthy for two unusual reasons: it is one of the very few films from Thailand to gain international release and it is the perhaps the only film of its genre to feature a love story between a hit man and a pharmacist.

The film is dumb, formulaic, the other actors are scarcely worth mentioning, and the plot is merely an excuse to set up the action scenes. But it didn’t bore me; The Rock is ceaselessly entertaining.