The Boxtrolls is a swing-and-miss for Laika; when you move forward with revolutionary techniques while standing still in terms of your themes, stories and settings, no amount of technical trickery or animation genius can bring the boring to vivid life.

Both Tipton and Teller are better than this material.

Tusk is revolting, but that’s entirely the point of Kevin Smith’s admirably imaginative and utterly disgusting latest feature, a twisted fairy tale that trades on gross-out gags and visual shockers instead of actual story.

It has a nose for what's cool, but is completely inept at execution.

The only thing moviegoers will hate more than the phony, faux-felt conversations of About Alex at its worst is the unfulfilled promise its high points suggest when it’s at its best.

Taylor’s film so egregiously picks and chooses from Brown’s life that the result is a holey and unsatisfying document that fails to give due respect to much of the singer’s life (especially the more unsavory stuff).

Even Besson’s most bold choices – and this is a film that goes weird, and then just keeps getting weirder – don’t seem so revolutionary when packaged in such well-tread trappings and increasingly shoddy writing.

[Aja] has outfitted Horns with enough talent that the film is rather easy to admire aesthetically. The problems are more foundational, even conceptual—and they are thus harder to reconcile.

For all its darkness, [it] never really scares up anything new.

Basically a drama-in-disguise. Unfortunately, it’s a formulaic and extremely uneven one, albeit with a number of sympathetic performances.

It’s all, quite strangely, boring.

Eastwood, who once upon a time was a flavorful director, is working in movie-of-the-week mode here. Cheesy, direct, bland.

A dark, dreary and dull “Mad Max in Neutral” from director David Michôd (“Animal Kingdom”) that tries to pass off its blunt narrative and repetitiveness as some sort of style.

The Homesman certainly wins a few points for trying a different type of Western. There are no greedy land barons and no gunslingers drawin’ at high noon. But being unique isn’t enough if the story remains uneven and the characters don’t feel real.

What's unfortunate is that Toothless is starring in a toothless story.

The best thing about this new Godzilla is that it spares no expense or effort to deliver big, burly IMAX-ified action... The worst thing about this new Godzilla is how that’s the best thing about it.

Unquestionably the work of both a newbie director and a green screenwriter.

Suffers from a script that places dramatic emphasis in all the wrong places.

Hateship, Loveship suffers due to its dedication to an oddly unsettling type of earnestness.

A strange combination of mental exhaustion and boredom.

It's darker, stranger and pushes more buttons.

The execution of that script – is so clumsy and over-written that nothing in it sticks. There’s a symphony of visuals here, and big strange ideas, but when it comes to the actual characters, we get automatons sleepwalking through clichés.

Maladies is at least watchable, though just barely.

A snoozy-but-diverting, lightly constipated B-movie.

The film’s tone is wildly uneven.

That it’s not totally dialed in throughout makes it a victim of the same thing most bad movies fall prey to: having the spark of a great idea rested awkwardly on top of a spinning mess of execution.

More aggravating than endearing, although there’s an interesting idea buried beneath all the cutesy plot details.

Monuments certainly isn’t unbearable to watch, but for all its quality pedigree and good intentions, the result is a frustratingly flat film that drifts from moment to moment with a curious lack of urgency and an overbearing sense of self-importance.