Perhaps the fact that the film is so inspired has something to do with the established camaraderie between fellow Marvel veterans. The franchise’s influence – the ebb and flow of the film, the swooping camera shots, the scope – is evident; only in this case, instead of the System’s victim becoming a superhero, a potential hero falls victim to the System. In the Russo brother’s capable hands, Cherry will speak to both millennials and older generations alike.

Isn't a terrible film. It's not offensive, controversial or even interesting in any way.

It all works as a schlocky TV show. Mainly because the cast is on point, with a broad set of appealing characters generating their own stories well within the overarching silliness about the outside world.

There's no question that Meg Ryan is the queen of romantic comedies. Yet for every piece of frothy fluff that works -- there comes a couple where you just want to say, "Enough already." Kate & Leopold is one such movie.

Overall, I would recommend seeing this film if you are a fan of Mapplethorpe’s work, the New York art world, or of Matt Smith. He gives a bravura performance which outshines everything and everyone on screen.

The biggest loser in all of this is Chan, whose legacy over here won’t be his 20+ years as a martial arts pioneer, but rather his playing straight man to the likes of Tucker and Owen Wilson.

Book of Love is never quite funny enough when it needs to be.

How to Deter a Robber is a wonderfully zany and energetic spin on the home invasion formula. It is a memorable debut, and I can’t wait to see what Bissell does next.

The best thing about a movie like this is I never have to see it again.

You'll either walk away with a headache,or praising filmmaker John Maybury for his unique narrative...and it is unique, but in my eyes, it's also a big giant mess.

Skills Like This is not a movie that asks to be taken seriously.

It's funny, sassy and enjoyable, even though the screenplay is rather weak.

Then Came You has a little of every romantic film that you’ve seen in the past two decades, and even though it’s not quite original, it still is a good film that will give you a lump in your throat. The talent in front and behind the camera are reasons alone to give this film a watch.

It’s intellectually and socially detrimental to both literature and cinema, simultaneously.

If Stalin's Wife doesn't provide solid answers, it nonetheless offers a fascinating tapestry of love, madness, politics, suspicions and jealousies.

It’s a Christmas movie that makes you laugh. There are a couple of cheesy scenes, though, so don’t worry if that’s what you’re looking for in your holiday viewing.

This film is a pleasure indeed. The concoction of Agatha Christie elegance with Sandler’s teetering on the edge of taste humor is high-impact relaxation, like a warm bath for your frontal lobes.

Two things make this worthwhile: The realistic relationship between Elliot and Richard, and Pantoliano playing against type and actually humanizing a possibly loathsome character.

If you’re suffering from superhero fatigue, this is just the palette cleanser you need.

The King’s Man doesn’t pick up in any truly incredible way until the second half, where a fantastic narrative twist happens.

Violent, vulgar, disgusting and incredibly funny.

By and large, reviewers have conceded that the picture is exceptionally gripping and suspenseful while deriding its moral subtext as a crock. The only explanation possible for such fuming pettiness, in my opinion, is the fact that Michael Haneke isn’t one of us.

There are a handful of intense sequences and a few scenes of squirm-inducing gore in The Ruins, but not much else.

Auggie is at its best when Felix is vulnerable. The same goes for the actor playing Felix. Kind hasn’t been this good since A Serious Man.

Besson’s film is a magnificent achievement. More romance than terror and more faith than devilry, this film is sure to pull the heartstrings.

Even with its over-the-top performances, Gaudi Afternoon is an emotionally and intellectually subtle work.

After all is said and done, it seems like the jokes during the end credits are the tow truck of the movie, the engine quitting after the halfway point.

Generally, this film is lively and entertaining. The dialogue among the four principals trips along at a brisk pace, never becoming overly dense or plodding.

An amusing and timely distraction.

The result was one of the worst films I've seen in a long, long time as this entire movie proved to me is that it's never too early to start the race for next year's Golden Razzies...

Doesn't do much besides giving original "Ringu" and "Ringu 2" director Hideo Nakata the chance to strut his stuff in front of a wide-release audience.

What's so disappointing is that the film had so much potential as a concept. The story slowly degenerates into a plodding, sappy bore.

Everyone here sounds trapped in a high school staging of “The Crucible,” and after about an hour, this high-toned creature feature wears out its welcome and starts to seem rather boring and pretentious, the two greatest sins any movie can commit.

Audiences enjoyed the original “Bridget Jones” because it hit close to home...But the sequel has about as much emotional depth as a sitcom

The acting is admirable and the film's hip, on-the-street feel is enticing, it's just too bad that this Irish "Goodfellas" hangs itself with a plot that's contrived and one dimensional.

The Loveless is far from Bigelow or Dafoe's best work but still remains an impressive debut for both. Thanks to the deliberately subdued pace and reworking of the biker genre, The Loveless deserves to be given a second chance.

Deadly Friend hasn’t aged well. In fact, it’s quite crappy.

As far as thrillers go, The Night Clerk is a little light on thrills. That said, there are more interesting things going on, which makes the film worth watching.

Mortal Kombat is a pretty good representation of the video game. It’s all action and not much else, and normally, I do want more from my movies. But here, that is precisely the point, and I’m okay with that!

The film is just too much exposition, too long, too convoluted, too many characters and ultimately a huge disappointment.

Lester takes all the wrong approaches.

I love sex with strangers! Yeah, the film is cool too. But damn, do I love sex with strangers!

Despite some brief nudity and much swearing, the whole endeavor feels like some sort of half-assed Christian "Adventures in Faith" story I might have endured in Sunday school.

If you've got the opportunity to have someone as talented and game for anything as Swinton, you really owe it to her to give her a real movie to be in.

What begins as a lush, pulpy gothic laced with intrigue quickly spins into a convoluted web of over engineered and preposterous plot twists.

In the end, the film isn't a complete waste of your time, and it is a neat little walk down a Patriot Act assisted cyber-terrorist "what if..." scenario, but don't expect anything brilliant.

Despite its touching story of family, Collisions goes a little too far in pleading its case for immigration reform and the return of DACA. If you like to engage in political debate, the film does bring up a literal myriad of issues and questions to discuss, but most likely won’t persuade many right-leaning filmgoers.

The Almond and the Seahorse is filled with sadness and pain, but there are moments of sunlight and happiness, which is ultimately the most anyone can ask for in this life.

This is yet another example of the Big Studio pushing out a film for the sole reason that they own the intellectual property and believe that we, like sheep, will see it because… well, we’ll see anything because we’re desperate for content.

Won't make anybody’s "best of" lists a year from now, but it's nowhere near as offensive as some other examples of this moldy genre.

Seriously, that kid is creepy as hell.

Has more heart up on the screen than any film I’ve seen in recent years. I mean, we’re talking sappy, sweet, heart wrenching sentimentality.

About the only thing suicidal in this lethargic crime drama is the convoluted script that wastes two fine performances by Christopher Walken and Denis Leary.

As 9 Songs played out for sixty-nine (count ‘em!) minutes, I started to find myself wishing they would just end the interminable, deliberately underlit, sex scenes and get back to those really hot pics of Antarctica.

This is exactly the kind of movie that improves on subsequent viewings, allowing you to enjoy it more once you accept the narrative on its own terms.

There are enough laughs here to fill a five-minute skit but sadly, the film lasts a lot longer than that.

Chariot may not blow anyone away with its inventiveness, but it’s right at home in the family of darkly funny science fiction films that are enjoyable to watch late at night. Full of bizarre performances and a fair share of laughs, this is more than worth a look for those seeking an unorthodox treat.

Never too dreary, Sherman's Way is a pleasant drama-comedy that's just fun to watch, much like a laid-back drive during the summer; it's not about where you're going, or how you'll get there, but just about how it feels to be in the car driving.

Pallenberg’s creaky slasher film is one that you’ll either love or hate, and while many will opt for the latter, it’s good campy fun with some of the dumbest scenes you can grab from a slasher of this decade.

All crass in its empty bluster and bogus uplift.

Whatever distinguished "Riding in Cars with Boys" the book certainly doesn't show up in the movie.

Unfortunately, despite a couple of creepy scenes here and there, director John Hancock doesn't inspire enough interest for us to want to follow Tom on his near two-hour Hardy Boys mystery. More groans than gasps for this one.

Longtime fans of John Woo, who have come to accept operatic, lead-slinging death dances as an integral part of the director’s powerful aesthetic, will probably be unsatisfied with this neutered variation on his earlier, superior works.

It's good then that From Other Worlds doesn't strive for masses of people either looking at the alien spaceships before their demises or working to understand the communications being sent to them. Sometimes it's enough to just have two people there to meet them. Two people are enough for the entire world and that's what makes this a novel experience.

It does get a little sappy without a hint of darkness at all. By the end, every plotline is wrapped up nicely with a pretty bow.

About the only thing that is lucid, in the malestrom of wham-bam effects, is the set-up for a sequel.

The film is truly gorgeous and interesting for fans of literature.

What, a white woman can’t take an innocent drive through the ghetto without arousing suspicion? What’s this world coming to?

We are here for the gore – which this film has plenty of. Too bad it doesn't have much else.

Daisy Edgar-Jones is the star here and gives an incredibly endearing performance.

An emotional picture that benefits from the extremely powerful performances of its stars.

Stevan Mena nonetheless is adept at creating images that disturb and disgust on levels most horror filmmakers can only dream of.

Is love a disease, as Marquez possibly wanted us to believe? Maybe, but in the case of this adaptation, it’s more of a laughing sickness.

Unfortunately, I have to admit that the tenor of the movie is almost unbearably cheesy and sometimes verges on infomercial territory.

Beautiful and atmospheric but essentially empty and pointless, Berlin Alexanderplatz hits you with the bluntness of a sledgehammer.

The film wants to be a revealing character study of aimless Hollywood wannabes, but the story is just not compelling enough to make the viewer care.

Works because it pays tribute to these characters. I knew that American Wedding couldn’t be as funny as "American Pie 2" just as that film wasn’t as funny as "American Pie."

A gripping tale of survival and the kind of smart thriller that will gain much-deserved attention for both director Stolhand and actor/writer Uygar Aktan. Simply a stunning piece of filmmaking.

Red Snow is a lot of fun. The two leads are well written and excellently performed. The jabs at traditional vampire lore prove to be most amusing. While it never becomes creepy, the film still is an absolute blast from beginning to end.

There’s enough character development for a 20-minute short, and 75 additional minutes are manufactured with slight variations on the same scenes in different rooms of the house.

Gleaming like a well-polished magic lamp on a vibrant Persian rug, The Keeper: The Legend of Omar Khayyam showcases Arabian/Muslim culture at its best and brightest.

When you watch Wonderland, going back twenty years plus, you think you're in for some paleontological expedition. Yet, thanks to James Cox's considered and adept direction, a cast and script that never cheats the experience or realism of Hollywood's enigmatic underbelly -- the drama of the 1981 Wonderland murders is de-petrified.

Coupled with decent acting but average cinematography and editing, Not Easily Broken hums more fittingly to the tune of a LifeTime television event.

The audience will respond better to ENTERTAINMENT than a club to the head.

Individual parts are actually quite funny, and the music, the most marketable element, is quite good. It's just that most of us cringe at photos of ourselves taken while we're really loaded. Too often, Hey, Happy! feels as if that embarrassment was taken to the next level.

There isn't much here any semi-regular viewer of "The X-Files" hasn't already seen a dozen times before.

This moves along pretty quickly and has a lot of over-the-top action and explosions. There’s a whole Missing in Action trilogy, but I can’t see how someone could sit through a second one.

I’d recommend Retribution if the weather is too hot and you want to spend a few hours in air conditioning. Otherwise, it’s a pass.

In the end, Mother/Android is a dramatic triumph that uses cosmic horror alchemy to get some serious expressionism across. It is well worth the trip into the dark woods.

Much of the film rests on the shoulders of Conrad Pla who plays Raymond Pope. He is the focus of the movie and proves himself an excellent leading man.

The final fight at the end is fantastic. It is by far the best X-Men fight in its franchise history (not counting Deadpool).

Kutcher gives a surprisingly proficient performance as does Heche who is the shining star of the film.

The highlight of Snake Eyes is the action.

There’s no shortage of entertaining moments in To Catch a Killer, but that won’t stop audiences from wanting more. Other than the performances from Woodley and Mendelsohn, there’s not a lot to grab onto, which would help distinguish this from countless other entries of this ilk.

The film is never less than entertaining, and it’s easy enough to get caught up in its roller-coaster narrative and impressive recreation of mid-century Texas, but its makers occasionally struggle to get a handle on their protagonist and the attendant themes of ambition, failure, and stubborn perseverance that he represents.

Glass is not a perfect movie, but it is a consistently entertaining one.

Even in the final battle over life and death, the only injury she suffers is a slight scratch on the face. It’s too much like a video game.

If there is one high point to be found, it's that Julie Andrews sings for the first time since her 1997 throat surgery.