Bratt's fast-talking, all-attitude interpretation is showboating without soul -- which can be said of the entire movie.

It comes off as an amalgam of everything that was cool in 1996, when we first saw the trailer.

Even though children will probably enjoy the film, without any intelligent humor or surprises, Max Keeble's Big Move will definitely disappoint those who were born before 1988.

The much-publicized decision to go "younger and sexier" with the casting--a move that turns out to pay off handsomely, enhancing and enriching the material.

The Bromley Boys is a light comedic drama, and you’ll have a good time if anything British is your cup of tea.

The convoluted movie feels like a bunch of grandiose ideas in search of a connecting thread. Perhaps Cahill needs to reconnect with his indie roots to get his creative bliss back.

Ultimately, Father Stu is unlike any other faith-based film I’ve seen. It’s raw, honest, and uplifting without tapping into preachy territory, which ultimately makes it effortlessly uplifting.

The performances are remarkable, particularly from Kingsley, and I love the script. I can’t wait to see what Dan Kelly and Devereux Milburn do next, whether it’s together or separately.

Much like anyone in the throes of recovery, this journey is not a nice, tight, three-act Hollywood story with a perfect dramatic ending. Finding “normal” is a distant speck on the horizon for Hogancamp and this film depicts only a small segment.

The characters’ actions here are goofy, immature, unsettling and at times downright silly.

An interesting idea, thoughtfully acted and visually intriguing. However, it is nearly undone by a lead character that fails to represent the general idea that the film is allegedly about.

The release of Fantastic Four marks the beginning of the end for movies based on Marvel Comics' upper tier of characters.

It may not quite reach the heights of Fargo, but if you enjoyed Cold Pursuit or the inferior-but-similar Daughter of the Wolf, then Blood and Money will be right up your dirt road.

It’s a shame that this film’s star-studded cast wasn’t able to save the mediocre storyline.

A movie celebrating the life of the greatest military conqueror the world has ever known should feature a bit more conquering.

It’s a film that walks a fine-line between serious superhero flick and slapstick, giving the audience a conglomerate of great martial arts moments intertwined with some very funny dialogue and impetus.

If I had the ability to engage in hyper-time, I would’ve ran up to the box office, snatched my money and left.

The series has turned into the cinematic equivalent of a flat bicycle tyre – it starts off with lots of air in it, but can quickly go flat when punctured.

Cage is the glue that holds it all together, with a determined obsession in everything he does here.

Director Mike Bencivenga takes what could so easily have been a trite, cliche-riddled melodrama and instead, somehow turns it into...well, a wry and moving melodrama.

The 355 is good old action fun with a well-constructed story and better than all of the bad James Bond movies. That’s right, Octopussy! I’m talking about you. I’m hoping The 355 is the right direction for female-driven action movies.

One of the drawbacks to rushing your sequel to theaters is that there's not a lot of time to hone dialogue and performances.

Louis C.K. should’ve applied sandpaper to the movie’s rougher edges; he should’ve adopted the jazzy, purposefully meandering, “anything goes” vibe of his previous outings. The comedic drama starts off like that, then collapses in its last third in a heap of sentimental mush.

As palpable as the atmosphere is, had the film boasted a clearer, more memorable story and performances that were a step above adequate, the creepiness wouldn't have simply lingered with the viewer, it would have gotten under their skin.

More tongue in cheek than its predecessor, and yet less over the top, it won't do any permanent damage. Of course, it won't leave much of a lasting impression, either.

While the film is flawed, lacks desperately needed humor and is filled with cliches, the attempt to explore the human cost of all those cool explosions and destruction is an admirable one.

If Pachman intended to reiterate the difficult plight of migrant workers, our disregard and abuse of them, then point made, I guess. Yet for a film titled Beneath Us, it certainly never digs deep under the surface.

Aside from the pesky problems of tone and lazy writing, the whole move is a little choppy.