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.

Fellowes' many changes diminish the power of Shakespeare's story.

Discordance, meet The Iceman, a film so wrong-footed it should take Eugene Levy out for a coffee.

Only completists need check in with Homefront. The rest of us can just stay home.

Frankly, no one in this ensemble is done any favors by Jason Hall and Barry Levy’s screenplay, a “Duplicity” for dummies filled to the brim with double-crossing cliches.

At first, it’s all fun and games whenever somebody gets hurt, but that’s not enough in and of itself to sustain the movie’s tension. We’re left waiting for characters to die off without much of a vested interest in anyone’s survival.

A movie of fools, by fools, for fools, Grown Ups 2 is easily forgotten, which isn’t as bad a feature as you’d think.

A visually colorful but otherwise vanilla continuation of the series.

The most awkward thing about That Awkward Moment is that the majority of it just doesn’t make much sense and, as a relatively light-hearted spin on the romantic comedy genre, it absolutely should.

Every scene of Danny Mooney’s directorial debut is brightly lit, every car squeaky clean, every moral dilemma transparent, with evidently thorough period detail undone by production values that lend even the riots an idyllic glow, while foiling the potential for truly dramatic conflict with leaden dialogue and predictable changes of heart.

The idea of the film is certainly clever enough, it’s the execution that lacks finesse.

Watching Identity Thief will steal nearly two hours of your life that you’ll never get back. It takes far more than it gives.

The violence is so indifferently presented that it has no kick; it’s not grim or graphic enough to shock, but it doesn’t rev us up, either. The picture’s various shoot-’em-up sequences are so generically conceived and shot that each one is indistinguishable from the next – by the movie’s end, they may as well all collapse into an exhausted heap.

To the film’s credit, it doesn’t waste much time in doling out shadowy figures and fake-outs for the gullible and easily goosed, and the cast as a whole dutifully delivers its panicked looks and cries in the night.

Struck by Lightning may appeal to fans of Colfer’s work on “Glee,” but as a film it’s utterly lacking in scope, depth or meaning beyond an immediate chuckle or two.

Unfortunately the bulk of the picture is cut together like a beer commercial on poorly lit cheap video without much panache. Unless primary colors with a gauzy halo is panache.

Dead Man Down is actually mildly entertaining, without being particularly fun.

For all of Krauss’ clearly good intentions, the film still falls staggeringly flat, even with the inclusion of a bold and unexpected performance from Vanessa Hudgens, doing her damndest to break out of the Disney mold and turn in actual work here.

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

The result is a film that grows worse with each passing minute, as the vibrant and complex Diana is reduced down to a daft, dumbstruck love addict, a biopic that tries desperately to humanize an already beloved and relatable human being and makes her look comically idiotic and empty in the process.

Simplistic on one level, indecipherable on another, it's a most peculiar muddle.

Wants to be many things, but ends up being not much of anything.

She's not a real person, in any way, shape or form -- which makes watching Lara Croft: Tomb Raider, the first in a projected series of live-action films based around her exploits, a visually spectacular yet oddly cheerless experience.

Until it backs itself into a narrative corner, Lisa Krueger's Committed is a delightfully unpredictable experience.

What keeps Stardom watchable is Arcand's droll humor.

The brainchild of English director Ben Hopkins, who takes his time getting going. Too much time, really, as the first hour passes rather antsily, without quite achieving forward motion.

The whole point is nothing more than the revelation that the terrain of suburbia is populated with damaged people inflicting damage on others. This is still news?

As flat as the brim of a Mountie hat.