BRILLIANT and WITTY. Those are two words that will not be used to described this film.

This amazing tour-de-force presents Huppert in a role, which is equal parts abrasive and vulnerable, exasperating and pathetic, monstrous and saintly.

The messaging in Greed does nothing but preach to the choir and keeps us firmly divided in a time where reaching across the aisle would do a helluva lotta good.

Dark Water isn't a bad horror movie, simply because it isn’t horror at all: a full hour passes before anything remotely scary occurs, and all the suspenseful scenes take place in the final ten minutes (and are all fully shown in the trailer). What's left is tedium and a seemingly endless build-up to nothing much at all, making it a bad movie. Period.

The story is such a cut-rate kid's sci-fi fairy tale that at one point Evil actually calls Gary Oldman on the phone (and it isn't played for laughs).

Murphy doesn't have much of a handle on juggling laughs with pathos, and this makes some of the more touching scenes unintentionally amusing. The film, like Augusten's life, is uneven but not without its charms.

A clichéd and painfully formulaic little film.

Samantha Buck, Marie Schlingmann bring a light touch and a wonderful comedic tone to a story of one hell of a woman. This is a lighthearted comedy about resourceful females far ahead of their time.

The core cast, Pine and Foster especially, are superb, while the screenplay gives them plenty to chew on. At a quickly moving 105 minutes, the film is worth the time investment.

80 for Brady is one of the most mediocre films ever made. However, there’s just enough heart and silliness to recommend it for nostalgic purposes. Plus, the four leads bring it. Also, like Superbowl LI, the film has an exciting fourth quarter.

Deep down, it’s a story about family and how the strong bond of the family comes in many different and imperfect forms. The cast gives it their all and finds the heart of this sweet narrative.

Waiting for the Barbarians isn’t a terrible film, it just never delivers on any of its promises.

Good-looking but predictable and schlocky, Mia and the White Lion is ultimately saved from slaughter by its two plucky heroes.

The Last Boy Scout is overwrought, extremely violent, has a relatively unbelievable winding plot, perhaps the foulest mouthed teen ever, tons of low lives everywhere, lots of shots to Willis’ face, and is actually a pretty entertaining effort, an undeniable guilty pleasure.

The women both in front of and behind the camera work wonders in subverting genre expectations, but not in the hokey, pandering way that female-led blockbusters so often settle for.

It's a feel-good movie, but not in a bad way. It makes you feel good the way that “Forrest Gump” made you feel good, as if the filmmakers were seriously trying to make a fun, wholesome, entertaining movie without taking on the industry with a moral agenda.

Would that we could extract the essence of this utterly enjoyable film and distill its creativity, intelligence and originality into a serum which we could then inject into all the tapped-out Hollywood screenwriters and directors out there.

I had just sat through a comedy that wasn't funny, a drama that wasn't touching and, all told, a mess of a story told by actors making some of either the laziest or most daring of choices, depending on your perspective. Sometimes both.

300 is a feast for the senses (well, two of them anyway) and an impressive technical achievement. More than that, it's a hell of a lot of fun.

Race can satisfy with a steady pace.

An unnecessary addition to the middling pantheon of pot flicks, Breaking Habits, like mid-grade schwag, is unlikely to get you buzzed.

An original, complex, and utterly gruesome revenge parable, and never portrays its characters as black and white. Considine handles his performance like a pro, and only adds to the pure skill behind it.

Silliness is on tap for you and your kids with Despicable Me 4, providing good fun for a trip to the theater or on a long road trip.

It’s a thrilling, poignant accomplishment, as uncompromisingly bleak as it is epic in scope.

A Gen-Z Bonnie and Clyde, Marmalade takes big, admirable swings, and while it misses some, it avoids the cardinal sin of being boring.

It's the curse of overacting and overdone shtick that does them in.

As with "Napoleon Dynamite," Hess' sense of humor is an acquired taste, where all the characters speak in peculiar cadences and are afflicted with a terminal case of the "quirkies." What’s unfortunately missing from Nacho Libre is much in the way of humor.

There are a lot of good messages in The Second Chance about how Christianity is a mix of love, both gentle and tough. Some of those, unfortunately, are lost in the uneven performances.