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.