Despite missing some needed scenes to carry forward the lead’s emotional throughline, this is a good film that is sure to resonate with its core demographic.

It helps immensely that Hart and Cranston play off each other well; or at least when the script is not getting in their way.

Time Trap is highly creative, populated with relatable characters, with a whip-smart script. Sadly, the very end of the movie undoes the tense atmosphere setup throughout. While it does not ruin the film, it does leave one a bit disappointed.

Could have been both a gripping courtroom drama and a chilling "is she or isn’t she?" horror tale. What we have instead is a movie that drifts, almost unmanned, from plot point to plot point.

The movie wastes the talents of its two leads by refusing to take any risks with the material, marching in lockstep to every genre cliché.

In these divided times, films centering on political issues either make an earnest attempt to persuade the other side to consider its point of view or play to its political allies and demonize its enemies. The Public does the latter, and the result is to further widen the divide of political discourse with self-righteous finger-pointing.

Even though this is just a blood-stained shadow of Argento’s previous masterworks, the fact that he has produced something worthwhile again is a cause for celebration.

The standout star here is Cailey Fleming as Bea.

Instant Dreams makes a strong case for the necessity of instant photography. Its three main subjects are compelling and well spoken. The film’s powerful, hypnotic images, and the mesmerizing score only add to the dream-like atmosphere being conveyed.

Top it off with a cameo by the real-life Phil Kaufman, and you've got a rock'n'roll road movie like no other. Wherever he is, Gram should get a kick out of it.

I especially enjoyed that it was more than just a straight-up boxing film.

Lee’s film never escapes its B-movie roots, nor does it try to, embracing its own pompousness.

Hero Mode might make some adult viewers roll their eyes or just groan with its misunderstanding of technology. But the screenplay offers up some genuine laughs along with a general sweetness making it great for viewers of all ages.

The concept is original, and the film spends a lot of time misdirecting or not explaining things thoroughly, adding an intriguing layer of mystery. The questions the film asks about life, love, and morality are heavy but not so much as to weigh down everything.

Even though it doesn’t stick to the landing, this is a fun watch with some cool ideas.

If you can wait until near the end, you're in for some fun. But after an hour-plus, it's a pretty long wait.

If the slightly generic Yes Man is symbolic of the new, happier Jim Carrey, then it is a small price to pay for his piece of mind.

Content-wise, Cruise is dull, with a script that brims of potential but is done injustice by uninspired leads.

By taking its time setting the stakes for all involved, when the action strikes, its impact is witnessed more through the cast rather than a cadre of CGI explosions.

The visuals make this feel like an actual Western, even though it doesn’t have the epic scale of the great Hollywood Westerns.

The romance here is rich and the laughs plentiful.

From its unimaginative opening, involving a dumb tourist falling to her death to the anticlimactic day-lit finale (if you get this far, you deserve some sort of Steve Irwin award), Black Water: Abyss will make you want to Crawl back into Lake Placid. To reiterate: if you’ve come for the croc, you’ll be sorely disappointed. If you’ve come for anything else… well, why did you come at all?

Better than I expected, but since I expected it to be a horrific failure, that isn’t saying much.

A great film and an important one.

It rebounds in the last moments and I thought successfully blended satire, high camp and yet another sexual taboo into a really funny movie.

It's just dumb.

Krull provides much swashbuckling cheese. But that’s precisely what gives the film a coy, relative appeal. Despite his role’s poor definition, Ken Marshall delivers Colwyn with some charisma. Krull also features engaging art direction, including The Beast’s jagged, globe-hopping fortress, and ambitious make-up effects that–if nothing else–seems a real challenge to function in.

None of the set pieces are inventive, and the dialogue is either overly serious or hacky ha-has. In addition to the bland everyman at the center of the story, all the supporting characters are soulless mouthpieces.