There’s nothing new and nothing we haven’t seen, which means every single moment and plot twist is familiar and predictable.

Though the film is about a missing person, unfortunately, it felt like something was actually missing from the plot.

If my moviegoing experience was magical in any way, it was only in that I once or twice nodded off for a spell.

I won't spoil the ending, but if Code 46 is to be believed, women will have it even worse in the years to come.

Can be fun. Just don’t think about it too hard.

Holding the entire movie together, Hall delivers an exceptional performance as a woman grieving, sliding in and out of reality. But her talents are eventually no match for a runtime that stretches things a bit and story beats that we have seen before.

Here's a film that exhibits all kinds of joy in uncoiling a story with no ending, or an ending that's so arbitrary you get the feeling that the filmmakers just threw names in a hat to see who their killer would be.

What prevents Hostel from fully harnessing the suspense factor in its rising action, climax, and conflict resolution is the insufficient impetus to pity or to feel too badly for Paxton and Josh.

The film has good action set pieces, but without a story that has something to say or connects with audiences beyond the surface, it’s just another standard sci-fi action film.

Easily one of the most lackadaisical movies I've seen. Don't get me wrong, the plot is entertaining enough, and there are some genuine laughs, but almost everyone in the movie is half-a--ing it.

There's no question that Meg Ryan is the queen of romantic comedies. Yet for every piece of frothy fluff that works -- there comes a couple where you just want to say, "Enough already." Kate & Leopold is one such movie.

The film is corny, predictable, and manipulative to the point that you feel like there’s electrodes attached from the screen to your brain, but, by the end of this film, I’ll be damned if I didn’t feel genuine affection for it and Lizzie in particular.

The movie is quiet and minimal in its dialogue, and it has flashes of humor and thoughtfulness. However, it's also unbearably slow and hard to empathize with Mikey when we don't really know what his problem is.

Diesel is good in the movie. He gets to dance, cry, romanticise…things we’ve rarely see him do in other movies. There are actually hints of a real actor there.

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.

Has a lot going for it, but two-thirds of the way through, things fall apart. The film’s weaknesses are directly tied to the narrative.

Key, Leguizamo, Greer, and Haysbert actually look like their having a good time and investing their acting talent in this silly story without flinching. No one’s phoning it in. John Cena is just a little too cartoony in his straight-laced character and somehow manages to make “normal” feel over-the-top.

The strong parts are the rip-offs of "The Conversation." The worst part is the lack of understandable character motivations.

David Perrault’s Savage State opts for Jacques Audiard’s contemplative mood but fails to balance it out with fleshed-out heroes, a sense of humor, or even a coherent point. What we’re left with is the novelty of a well-worn genre seen through a very French, existential prism; it’s all jaw-droppingly beautiful and sleep-inducingly dull.

Lying and Stealing comes across as the object a thief would replace an art piece to prevent anyone from realizing it’s missing at first glance.

Nothing really works on any level above mediocrity.

The average viewer will be satisfied with the product, even if the film offers hardly any new information. The doc buff will witness a film that can't surface above the steady nonfiction output at the art house.

The Last Breath navigates its time at sea with real skill, and it provides us with a handsome final performance from Julian Sands, but sadly, the drama doesn’t quite float.

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

Entertaining and highly watchable but in the end, it just feels trite.

“Syriana's” dumber, louder cousin.

Saltburn just goes too far, and its startling images shocked me out of the story altogether.

A competently calibrated feel-good machine. It's as effective as anything on The Lifetime Channel. Which is likely where this project would have wound up were it not for the involvement of Washington.