Gleaming like a well-polished magic lamp on a vibrant Persian rug, The Keeper: The Legend of Omar Khayyam showcases Arabian/Muslim culture at its best and brightest.

When you watch Wonderland, going back twenty years plus, you think you're in for some paleontological expedition. Yet, thanks to James Cox's considered and adept direction, a cast and script that never cheats the experience or realism of Hollywood's enigmatic underbelly -- the drama of the 1981 Wonderland murders is de-petrified.

Coupled with decent acting but average cinematography and editing, Not Easily Broken hums more fittingly to the tune of a LifeTime television event.

The audience will respond better to ENTERTAINMENT than a club to the head.

Individual parts are actually quite funny, and the music, the most marketable element, is quite good. It's just that most of us cringe at photos of ourselves taken while we're really loaded. Too often, Hey, Happy! feels as if that embarrassment was taken to the next level.

There isn't much here any semi-regular viewer of "The X-Files" hasn't already seen a dozen times before.

This moves along pretty quickly and has a lot of over-the-top action and explosions. There’s a whole Missing in Action trilogy, but I can’t see how someone could sit through a second one.

I’d recommend Retribution if the weather is too hot and you want to spend a few hours in air conditioning. Otherwise, it’s a pass.

In the end, Mother/Android is a dramatic triumph that uses cosmic horror alchemy to get some serious expressionism across. It is well worth the trip into the dark woods.

Much of the film rests on the shoulders of Conrad Pla who plays Raymond Pope. He is the focus of the movie and proves himself an excellent leading man.

The final fight at the end is fantastic. It is by far the best X-Men fight in its franchise history (not counting Deadpool).

Kutcher gives a surprisingly proficient performance as does Heche who is the shining star of the film.

The highlight of Snake Eyes is the action.

There’s no shortage of entertaining moments in To Catch a Killer, but that won’t stop audiences from wanting more. Other than the performances from Woodley and Mendelsohn, there’s not a lot to grab onto, which would help distinguish this from countless other entries of this ilk.

The film is never less than entertaining, and it’s easy enough to get caught up in its roller-coaster narrative and impressive recreation of mid-century Texas, but its makers occasionally struggle to get a handle on their protagonist and the attendant themes of ambition, failure, and stubborn perseverance that he represents.

Glass is not a perfect movie, but it is a consistently entertaining one.

Even in the final battle over life and death, the only injury she suffers is a slight scratch on the face. It’s too much like a video game.

If there is one high point to be found, it's that Julie Andrews sings for the first time since her 1997 throat surgery.

This is a superior horror film. It hits hard and fast, letting up only to inject some black humor and amp up the tension again before coming back for more. Feast is nasty, brutish, and short, just like Hobbes said all horror flicks should be.

Beach House has all the makings of great low-budget horror: limited cast, isolation and a somewhat plausible variable. Sadly, these elements get lost in messy camerawork and a mundane screenplay.

The film does enough to get you through to the end of the film but lacks the feel-good moments as well as the impactful dialogue that could have made this film an instant classic. Despite this, the story is very inspiring and that should be enough to make you want to give the film a watch.

Between Black’s signature enthusiasm and Rudd’s insecure actor persona, there is fun to be had. Plus, Selton Mello walks off with every scene, leaving the audience at his mercy. Overall, this is good, not great.

If you didn't like "Charlie’s Angels," there’s a good chance you'll enjoy the smarter, sexier D.E.B.S.

This movie is a great, big mess. It’s never truly scary, and you get the feeling that Tobe Hooper’s been living off the original flick’s rep for so long that he didn’t give a damn if this movie sucked or not. And, believe me, it does.

Unfrosted is dumb. Not only is it dumb, it’s stupid. It commits the sin of being a comedy that thinks its funny. The film goes wrong in so many ways.

It should be memorable for fans of thrillers, especially for those of the home invasion variety.

Nothing sums up Bones better than its parting shot, in which maggots are projectile vomited directly toward the audience. How so very appropriate.

I’m getting fed up with classic films being remade or ruined by being turned into “Special Editions” that are less than special.