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.