Just plain bad.

If you approach Alita: Battle Angel like a standard action film, where you’re there just for the stunts, you will have a good time. The world created by James Cameron and Robert Rodriguez is visually stunning. Rosa Salazar is fantastic as Alita, and she shines in her mocap performance.

Known for her luscious and exquisite cinematography, Cvetko presents a captivating and well-acted story with great style for a film about contemporary love and life awakening, which includes LA anti-establishment undertones and unfocused careers. The breakout performances of Rambaldi, Neyssan Falahi, and Mattia Minasi are noteworthy as the trio flows and carries one another through the end.

Overall, I found myself not hating the film. There's just one thing that troubles me about the way Nancy Drew is depicted. She is determined, a perfectionist, uber-organized, and efficient. Those qualities can be associated to geekdom, but they’re also symptoms of someone with a propensity for disordered eating or obsessive-compulsive disorder. Hmmm.

Aline has quite a few things to praise, but the bio-pic overall feels like a slight step up from a made-for-television film when it comes down to it.

A sometimes gripping but mostly routine shoot-em-up about Muslim terrorism in American.

Decent vampire movies are few and far between, and I’m having a hard time remembering a recent one that impressed me like 30 Days of Night.

The basic story structure is still intact, but with a significant portion of the blood and gore removed.

The real problem is that Sex and the City is, except for a few laughs, mostly just irritating.

Fans of prison flicks would do better to catch the HBO series "Oz" or the five millionth rebroadcast of "The Shawshank Redemption."

This film includes not one single word of dialogue.

The movie is a heart-on-the-sleeve, old-fashioned action-adventure thriller. This Balloon may not exactly soar, but it’ll give you a satisfyingly stirring ride.

Unfortunately, Brooks errs badly by having his film centered in India. Yes, India - which, as most people know, is not a predominantly Muslim country. Rather than look for comedy in the Muslim world, Brooks uses this film to make fun of contemporary Indian society.

Worth seeing for its solid first two acts, some terrific acting by some favorite character actors, and a several solid spook-show scares.

Unfortunately, director Paul McGuigan tries to make it all serious at the end, and this isn't the kind of story that should be taken seriously.

It's too bad with all of the poker action there wasn't enough time to establish the relationships between characters.

Somehow, we get a new Annabelle movie that develops its own personality and takes on the lore without rewriting or undoing anything that has already been shown in the other films.

Funny and sensitive for all its faults, The Fluffer is nevertheless unlikely to break out of the gay cinema ghetto.

As it is, Flightplan is half of a pretty good movie. But to maintain that impression, I recommend you take a nap for the last 40 minutes.

If you're a fan of the early Ritchie comedy-crime thrillers, then this is not only right up your alley, it's a long lost relative returning home.

As a chapter in the Disney classic remakes, Jungle Book still stands at the top. Behind it is Aladdin and Cinderella fighting for second place with the rest as a distant whatever.

Those who may not care quite as much about the economic messaging underpinning the film may still find Dinklage careening through windows and getting seduced by hot graduate students worthy of the time investment. Still, there’s no denying that this could have been so much more.

Like all of its predecessors, its overtly political message can’t decide whether its violence is justified or glorified. This means it sits right at average.

The writer and the director rub our faces in muck until all we see is darkness, providing the faintest ray of light at the end. You will be infuriated – not so much at the witnessed injustices as at the filmmaking team for subjecting you to over two hours of grief and misery.

The greatest pleasure the movie has to offer is a chance to watch Spencer perform completely unhinged and relish every moment doing so.

It's by no means a classic, but the dialogue and high caliber of performances mean you’'ll get your money's worth, especially if you're really into empire waistlines and that infamous English haughtiness.

You love Solondz's films, you'll love Palindromes. That same twisted sense of humor is there and certain scenes go on for an uncomfortably long time, but you wind up savoring the discomfort.

Its portrayal of Britt-Marie sometimes feels condescending, several of its plot turns make no sense, and its visuals add nothing that wasn’t already there in the original book.