The Fourth Kind has nowhere to go and sticks to its real-life/reel-life device. It feels like mud by the second act.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

Boasts some of the best filming seen in today’s so-called “dramatic documentaries,” but an unrefined script and frankly unbelievable ending keep it from becoming something better.

A strangely inert affair. The stories devolve into one-dimensional squabbling and too many loose threads flap around the edges.

The guys in Ishtar are the boring wallflowers of the world. They probably shouldn't be mocked, disgraced and beaten, but who really wants to spend close to two hours with them.

Wants to be a monster movie for the art-house crowd, but it falls into the trap of pretention almost every time.

The question isn't whether Nispel's remake is better than the 1980 original (it isn't) but whether anything original is brought into the mix. And minus a mild plot twist you"ll probably see coming from the first five minutes, there isn't.

The film as a whole is vaguely entertaining but due to the unsympathetic nature of the lead character, it's hard to emotionally invest in the film beyond that feeling of watching yet another Jerry Springer-friendly family adventure. It’s simply unexceptional.

While the film has some laugh out-loud moments, it’s very poorly constructed and what we see onscreen seems to be the victim of either bad editing, poor direction or a script that was rushed into production too quickly.

As unoriginal and awkward as Like a Boss is, Byrne and Haddish do everything in their power to elevate the mundane script to something worth viewing.

There are worse movies out there than The Terminal, but few that feel quite so…unnecessary.

It is the kind of movie where everybody gets together at the end to sing or dance in celebration of love, life, and family; so going in knowing nothing about The Storyteller, one will either be moved by its devotion to providing warmth and tears of joy, or not.

The movie knows what it is, and undoubtedly offers some tense moments, but once the plot contrivances start to stack up, Unhinged becomes too silly for its own good. It leans heavily into the violence to distract, but the flailing story surrounding it.

Rebecca Romijn-Stamos is just plain HOT in this film and other than that...we got ourselves a stinker.

The issue with Eva’s coming-of-age story is that, unlike most other films with the same premise, it lacks a significant self-discovery. The August Virgin lacks the significant payoff necessary to be successful.

The real torpedo that sank this ship was that the source material wasn’t all that good, to begin with.

The only obvious question that Oswald’s Ghost raises is: how come Mort Sahl wasn’t in the movie? (If you don’t get that joke, you need to brush up on your Kennedy conspiracy lessons.)

Rottentail is a disappointment, overall, and even forgiving viewers are likely to hop off the bunny trail long before the closing credits roll.

Wooden, one-dimensional epic.

Could this version of The Little Mermaid stand alone if the original didn’t exist? Possibly. Howard Ashman and Alan Menken’s songs and story structure remain intact and are its only salvation. But, again, why watch the live-action remake when the original is so much better and suited more for kids?

Overall, Cold Blood just falls flat. Secrets should be shocking, unpredictable, and strongly impact the story. Here they’re predictable and lacks cleverness in discovering everyone’s true identities and motives.

This movie wasn't nearly as bad as I thought it would be. It's still not that good though.

The movie sucks. It's beneath Argento to be making such drek after so long a career. He's better than this.

Just isn't a very good movie. In fact it's kind of like living in the San Fernando Valley where it was filmed. It's big, kind of neat, has nice weather and has all the accouterments of a real city. But there's no "there" there.

Operation Fortune is an action movie. So, how are the fisticuffs and shootouts? They couldn’t be any blander. Yes, there is a lot of action, but I don’t remember anything cool until the end. It’s your standard gunplay, hand-to-hand combat, and car and motorcycle chases.

The performances are serviceable, but character decisions are so frustratingly ill-advised, it is difficult to muster an ounce of interest in any one of them.

Ultimately, Trading Paint doesn’t amount to much more than an easy way to mindlessly kill eighty-nine minutes.

While I admire Bishop Jakes and I frequently watch his sermons on TV, I have to question his tactic of charging people admission to generate hosannas on his behalf.