The film does enough to get you through to the end of the film but lacks the feel-good moments as well as the impactful dialogue that could have made this film an instant classic. Despite this, the story is very inspiring and that should be enough to make you want to give the film a watch.

Between Black’s signature enthusiasm and Rudd’s insecure actor persona, there is fun to be had. Plus, Selton Mello walks off with every scene, leaving the audience at his mercy. Overall, this is good, not great.

If you didn't like "Charlie’s Angels," there’s a good chance you'll enjoy the smarter, sexier D.E.B.S.

This movie is a great, big mess. It’s never truly scary, and you get the feeling that Tobe Hooper’s been living off the original flick’s rep for so long that he didn’t give a damn if this movie sucked or not. And, believe me, it does.

Unfrosted is dumb. Not only is it dumb, it’s stupid. It commits the sin of being a comedy that thinks its funny. The film goes wrong in so many ways.

It should be memorable for fans of thrillers, especially for those of the home invasion variety.

Nothing sums up Bones better than its parting shot, in which maggots are projectile vomited directly toward the audience. How so very appropriate.

I’m getting fed up with classic films being remade or ruined by being turned into “Special Editions” that are less than special.

By the way, good luck making sense out of the final fifteen minutes. I'd say people were asleep at the wheel on this one but the film is so pointlessly all over the place that I'm not sure there even was one.

The script gives both actors, as well as the supporting cast, very little to work with, aside from some crude John Waters-inspired put-downs and plays on words.

Not only does this film have the coolest title ever, but this bittersweet, multi-layered comparison of life's realities versus life's potential is as compelling as it is deeply resonant.

Unfortunately, Stuber never rises to the point of being remarkable in any way. You’ll love it, if you are a fan of either lead, otherwise, it’s a standard buddy movie.

An entertaining diversion and if you want a light film to just sit back and relax to, then this might just be your movie.

Its revelation of Jesus Christ’s story can still inspire the next generation of filmgoers through its timeless themes of redemption and forgiveness.

The film never takes itself too seriously, considering there are some serious actors in it. In the end, it’s all good fun and a great movie to turn on when you want to hand out with friends and see something truly insane.

As much as I thought the film’s heist element was unnecessary, which it is, Liman sure knows how to make it exciting and even in a pandemic. Locked Down could have been a much worse movie, but ultimately it’s a love story and a good one too.

The only thing wrong with Transformers: Rise of the Beast is that it’s bland and boring.

If you manage to sit through the whole film, don’t leave before the humorous tag in the credits.

Despite pacing issues, the film is a good look at imperialism and the mind of “the white Rajah.” The beautiful locations give the film an ambiance of mystery and adventure.

Who wants to be subjected to water torture for 2 hours?

What makes Swiped really stand out are the actors involved.

Slight but likable, Changeland deals with moving on and the healing powers of travel and friendship. Forgetting Sarah Marshall’s low-budget cousin, it’ll hopefully finally establish Green as more than just the “Zip It!” guy.

Mrs. Lowry and Son has an appealing old-school charm and two performances that make it worth seeing.

The problem with Brave New World falls squarely on the writing and the story.

Holy Man is just a dumb romantic comedy passing itself off as something else.

Braga’s direction is so bland and tension-free it could not make a cat jump into a tree. The cast all try their best, but only Robertson comes out unscathed. There is not a single reason to ever watch this movie.

One of the funniest films I’ve seen all year.

Ashes in the Snow is a good, yet unsatisfying movie with the potential to have been so much better. The pace is too slow, and the characters’ arcs are predictable.

With a talented, seasoned cast, and the capable directing hands of Jason Cabell, Running With The Devil is a dark, suspenseful, and fascinating look at a subject often debated. Definitely worth a look.

Matt Bomer and Alejandro Patiño, who play the two leads, have a chemistry that brings to mind Tom McCarthy’s superior studies of seemingly disparate characters bonding against all odds, The Station Agent and The Visitor. That unlikely companionship – the heart of Butler’s film – goes a long way to make up for other lags: underdeveloped secondary characters and a few misjudged sequences that unwittingly titter on the brink of “racist.”

I can't really remember the last time I saw a movie with this much biting satire and brilliance that was utterly excruciating half the time.

It’s a showcase for what great independent filmmaking is all about, taking an interesting concept and applying excellent acting and directing on a limited budget. I will say that the ending felt a little weak to me, but the film is akin to life in general in that the most important aspect is the journey.

A very important film that is as sad as it is uplifting. After viewing it you may just have a whole new appreciation for life.

The story and themes behind The Stepford Wives are way past their time. They’re products of the 1960s.

Carpenter oscillates between high horror and lowbrow camp, which is more unsettling than the scenes of decapitation and dismemberment, and drives a steak through the heart of Woods' fine performance in the process.

Sometimes the movie can't decide whether to tug REALLY HARD at the heart strings, or make you laugh at the zany oil riggers.

The plot, about a man who followed his dream, just oozes optimism. If you grew up in this era, there’s a lot of nostalgia value here. Toe-tapping fun is how I’d describe my time with Spinning Gold

Edward and Carter are like the original Odd Couple, except nobody’s laughing.

Fred Claus is belligerently unfunny.

The first half of Luis (Angel Eyes) Mandoki's new thriller is as whiteknuckle, nerve-wracking as they come. The second is such a mishmash of overblown action and gaping plotholes, it's hard to believe it's the work of the same director.

There's too much pretension in this film. Lots of intense stares into the camera. Lots of uncomfortably hip clothes. Lots of pompous names for themselves.

Delightfully goofy.

Were it not for a few missteps, coupled with an abrupt resolution that doesn’t do justice to the preceding depth, Doyle would have had a little gem on his hands. As it stands, I almost love Almost Love.

From the final product, not only do I not think Jan De Bont has never seen the original Robert Wise film, I don’t think he’s every actually seen a horror film. Have you ever seen a single computer generated effect that scared you, more than just the unexpected sound of a door slamming behind you?

It may not break new ground when it comes to this genre, one involving betrayal and heavily-accented mob bosses and brotherly love, but when a familiar path is tread with such confidence, you just may want to take another stroll.

Olivia Côte and Laure Calamy make the film worth watching if you are in the mood for a story about an awkward but enduring friendship.

Even by Hollywood sequel standards, this is lazily conceived, cynically recycled stuff.

For the most part, Esther is an entertaining and solid addition to the Evil Child canon. There may be something wrong with Esther, but there's nothing terribly wrong with Orphan.

I’ll take a bold if misshapen curiosity such as this over safe Hollywood fare any day.

A good-natured comedy that, while not always funny, remains as sincere as The Book of Mormon. No, really, that is a massive compliment.

It dares to tell an honest history, warts and all, from its inspirational beginnings, which led me to become a Christian to its rapid decline when I learned that even the godly were imperfect people. But then again, maybe God can still use these miscreants of music.

The rape scene is, admittedly, as brutal as any I've seen in recent memory, but much of what Iliadis shows us is a direct riff on the original.

It's noisy, nonsensical, and will fade from your consciousness even before you make it out of the theater lobby, but it's entertaining enough, and Tamahori throws us a few curve balls to keep things interesting.

A movie that wants you to squirm in your seat and judged by that standard, it works brilliantly.

Some people, including a couple of people I watched the film with, may see The House That Jack Built as pretentious nonsense. Others will see it as the glorification of violence. I see it for what it was intended to be, a work of complicated, violent, hilarious art.

Hooter babes and the ubiquitous Steve Buscemi is a riot as the mercurial bum on the street.

Coolio videographer Antoine Fuqua frames Yun-Fat in slick style and his choreography of the slo-mo shoot-outs is worthy of comparison to those of the film's executive producer, John Woo.

For a film that asks its audience to erase so much of the series’ lore, it certainly enjoys feeding them “memberberries” throughout its runtime.

Barnyard isn't a complete waste of time, it's just too familiar.

Ultimately, Sight brings audiences a good, wholesome tale of someone who wouldn’t let his past keep him from doing good in the world.

There's some darn poignant stuff going on here.... The problem is that the audience will try to connect everything to the explicit Eden analogy, and not everything will. The director wins points for enticing you to figure it out, though, and I did enjoy it.

In the end, two things prevent Big Kill from being a complete flop. First, Mark Atkins’ cinematography is gorgeous, containing sweeping vistas that would’ve made John Ford proud. And second, although most of the characters are caricatures, several of the actors clearly get a kick out of their roles, particularly Patric. If only the rest of the movie were as entertaining as they are.

The novelty of watching vintage lesbian footage just for the sake of watching eventually wears off. This underscores the idea that there is such a concept as too much of a good thing.

Tedious talk-fest.

This is a severely flawed, but also a fascinating and engrossing science fiction film, a picture that offers far more than surface thrills.

Isn't nearly as offensive to the senses as I originally thought it would be when first presented with the trailer.

When you have Bruce Dern and Randy Quaid in a movie, you have expectations. Those two rarely disappoint, and that continues to be the case here.

Its storyline is very predictable and cliché but teen girls will no doubt have a good time with this movie anyway.

The best way to describe Callie Khouri’s Mad Money is as “Ocean’s Eleven” if it were geared to the drones at the Oprah Winfrey book club.

Not for me, and in spite of that, I found it really funny, smart and sweet. I enjoyed it.

If you like action, then you’re going to have fun, but this is by no means a perfect movie and doesn’t stack well against old-school MCU (everything up to phase three). Its weakness lies in the by-the-book story and does nothing to overcome the superhero fatigue we’ve been feeling for a while.

Screenplays like A Dark Place only get made because they’re familiar. They present intrigue and drama in a way that doesn’t challenge the audience but reinforces their belief of what a movie like this should be. This conformist methodology might make the movie palatable—and marketable—but it doesn’t make it any good.

In Created Equal, Justice Clarence Thomas and his wife Virginia tell his life story using over 30 hours of interview time, personal photos, and archival news footage and does not shy away from the big moments of his life.

Every glimpse behind the curtain brings new meaning to your favorite songs. You discover how intimate and personal this album is for Sheeran and how much it means to his family. After watching Songwriter, you will listen to Divide with a newfound perspective that makes each song sound even better than it did before.

The chemistry between McCarthy and Cannavale is great. I could see an entire, more traditional rom-com starring the two of them.

Cinderella fails spectacularly on just about every level.

Sophomoric silliness.

I expected to see the triumphant return of my childhood favorites, yet I feel like this wasn't the answer.

Shabbily structured, with barely any tension, characterization, scares, or thematic depth, Consecration, due to its utter lack of inspiration, loses the audience’s concentration within minutes, and may even lead to constipation (okay, maybe not the last part, but you get my drift).

While this is far from an avant-garde, ingenious flick, it uses a dependable formula that’ll definitely deliver.

The plot, characters, story and dialogue were all secondary -– or lower. With this in mind, Torque really wasn't that bad. In fact, with this in mind, Torque was actually pretty good.

This is high-octane fun that you would do well to check out in theaters.

While I could probably spend an entire weekend watching Milla twirl her kukris, it's obvious from the rather lazy pacing that Anderson is growing increasingly self-indulgent with his creation.

I'm a sucker for so-called "mockumentaries." They're charming, usually outlandish, and you never have to worry if anyone is getting exploited. NBT is no exception.

All Mr. Woodcock gives us is mediocre comedy at its finest.

Thanks to strong characters, a great cast, and one bonkers-in-the-best-way finale, the film is sure to please undiscerning fans that just want to have a bit of cool-looking fun for an evening.

It sadly really never lives up to the potential and excellence it's really capable of.

For a while, the film’s elegant art-horror vibe is quite compelling, leaving the ancient secret societies and demonic entities that it hints at tantalizingly off-screen and just out of Rose’s grasp. Unfortunately, though, the film begins to stumble late in its second act, its well set-up mystery devolving into a contrived sort of video-game logic.

A stupid summer movie.

The facts and ideas presented within definitely make a strong case for something whacky going on out there that's far beyond our control.

As much fun as I had with this film, and many others will have with it for years to come, Citizen Toxie is definitely an acquired taste.

Director Jay Roach continues his regrettable "Austin Powers" habit of beating the same shtick to death until nothing of comedy value remains.

Red Sonja is classic high adventure that earns the gold in its pocket by spilling blood the way that only a woman can.

It is a straightforward narrative of racism where one man’s courage and refusal to give up provides an outlet for success and reform.

The story's no great shakes here. However, the power of this film lies in the sexual tension boiling between the characters and that makes for a great date movie.

The film is creepy, I'll give it that, but it also has that smalltown, dramatic bend.

There was a movie called “My Bodyguard” about the new kid in high school who hires the sullen loner to protect him from a bully. That was good. Drillbit Taylor is shit but, hey, I’m in Judd Apatow’s Hollywood.

A must for any true rock aficionado.