Jackie & Ryan is, in the final analysis, perfectly serviceable cotton candy.

Visually uninteresting, dramatically inert, and remarkably silly no matter how seriously it tries to play things straight, Insurgent is franchise management and little more.

There's a slightly muted quality to the film, though, which keeps it from being a complete pleasure, but considering how rarely we get a new film from Dante, I'll take something slight over nothing at all.

The pacing on this one is flaccid, and while I think he has some interesting points to make, the framing device to the film is a total bust.

There's plenty of potential there for really sharp comedy, but Allen's script just lobs softballs.

No one who sees I Smile Back will question if Silverman was right for the role, they will simply question whether this was a story that needed to be told in the first place.

There are no real stakes, and I find the attempts at creating suspense to be almost offensive. Irritating, at the very least.

Intermittently playful, consistently confounding, finally petrified, it's a film of fussy, cultivated austerity.

Julianne Moore seems to be the one person in the film that truly gets the tone right, playing Havana like a person walking a tightrope over a yawning pit of psychosis, her every emotion bubbling up and threatening to knock her off.

The film feels very tiny, and intentionally so. This isn't a horror film at all, which is an odd thing to say when you're talking about a movie with zombies in it.

Unfortunately, Southpaw descends into a tedious exercise of formulaic filmmaking that leaves you feeling worse for Gyllenhaal and Whitaker than the characters they play on screen.

If this was someone's first film, I'd be okay with the small signs of life that make this merely an annoying film instead of a completely dreadful one, but for this to be the latest work by a guy who made his first impression on the general public by sticking to his guns and refusing to compromise his voice… unthinkable.

The biggest problem I have is that the film seems determined to push the outrageousness as far as possible, and there comes a point where it just stops working because it's all so outrageous.

It is a perfect example of marketing driving the machine. It's also a profoundly silly movie that really isn't even trying to play by the conventional rules of family animation.

Overall, American Sniper is a solidly-staged but unexceptional picture, filled with overly familiar dramatic situations and a surprisingly blindered view of the world around its central character.

There are laughs in the movie, but they feel like they are isolated gags, not sustained runs, and in order for this to work as character comedy, they'd have to be playing better defined characters and not just heightened versions of themselves.

It's a dull film.

Taken 3 is formula filmmaking at its most formulaic, a film that exists only because it makes sense financially.

I’m not sure how a filmmaker whose work normally speaks to me as clearly as Snyder’s does could deliver something that feels this confused, this impersonal, and this corporate. It is a confounding mess of a movie, and while there are individual sequences that I enjoyed as isolated moments, it is almost breathtakingly incoherent storytelling.

Despite the worthy efforts of stars Tom Hiddleston and Elizabeth Olsen, the Hank Williams biopic I Saw The Light is a shockingly bad movie.

The script by Keir Pearson is admirably restrained in many ways, but it is also almost completely devoid of anything that would give the film the feel of actual life.

Leonetti doesn't seem to have any particular knack for the staging of suspense or fear.

Wally Pfister, best known until now as the cinematographer on Christopher Nolan's big films, makes his directorial debut here, and as dumb as Paglen's script is, Pfister seems to have no feeling whatsoever for the staging of sequences or for any sort of dramatic narrative momentum.

There is nothing in this version that make any of this feel urgent or even important.

The script by Luke Greenfield and Nicholas Thomas makes too many easy choices, and it simply doesn't work in terms of maintaing credible audience sympathy.

I'm baffled by the screenplay credit. Richard Price is a muscular writer, and he's done some great work in the crime world over the years, but this feels like a screenplay by someone who has never written a film before, full of first-draft dialogue and weird structural and tonal issues. It's almost amazing how tone-deaf it is.

These self-actualization stories, while certainly well-intentioned, get exhausting after a while, and it also starts to make storytelling for kids feel like it's all wrapped in this language of affirmation, and it smothers the simple joy of creating good characters we want to spend time with.

Eastwood is rarely a careless director, even when his handling on the material is this badly fumbled, but even his typically astute command of period and place feels off here.

Hou and cinematographer Ping Bin Lee (“Renoir”) produce some stunning images on location (one conversation takes place as a fog beautifully emits from the bottom of a valley), but it’s hard to find a thematic connection between the directing style Hou has chosen and the story.

Ferrara is openly inviting comparison with Pasolini’s work in this ambitious but messy and flawed piece, where reality bends and stretches and sensation rules.

They have tried, with this Daniel Craig run of films, to elevate the Bond movies so they are more than just acceptably silly spy movies, and one of the reasons SPECTRE is so frustrating is because it feels like the collapse of that ambition, and it is in one moment that you can see the entire thing burn to the ground.

The film is a mild pleasure at best. There's nothing necessarily wrong with it, and it's well-crafted, but the screenplay by Steven Knight is so remarkably free of anything resembling actual drama that I'm almost mystified by it.

It would not surprise me if most reviews for this film are openly hostile. It is a wretched piece of writing, and an absurd final product. It almost seems pointless to pile on, though. The audience who loves Sparks is going to go see this film and they'll no doubt walk away satisfied.

Tammy is a mess, and it feels like a real misstep for this rising star.

This is that rare case where it feels like every choice Scott made was off, and the cumulative impact of all of these choices is one of the most crushing disappointments of the year in terms of who made the film and how little of it works.

This entire film is like someone raised a kid in a room, cut off from all contact with the outside world, and all he had was a stack of Hustlers, a stack of Soldier of Fortunes, and a bunch of black-and-white stills from old detective movies, and at the age of 14, that kid gets turned loose and spends two hours screaming in your face about these stories he's been writing.

Need For Speed is several different movies at once, and most of them are very stupid.

Whimsy's hard, honestly motivated romance is harder, and when you get both of those things wrong in the same movie, the result is almost too much to take.

I think it is precisely because the technical work by everyone from James Bobin down is so good that I find myself infuriated by the film. So much muscle, so much effort, so much raw talent on display, and all in service of demographic-and-merchandise-driven garbage that sullies the name of the source material.

Wallis, who is an appealing young performer, simply doesn't have the chops for what has traditionally been one of the more demanding leads in a musical for a young performer, and Gluck, along with co-writer Aline Brosh McKenna, has built a film around Wallis that is constantly undercutting the songs, the choreography, and the entire idea of musicals.

This thing swings from broad gross-out comedy to something that seems to be struggling to be a reflection of real life, and it never establishes a baseline reality. It is a strange misfire that is only saved from being a complete disaster by the efforts of the film's two leads.

The Judge is risible Hollywood dreck, a star vehicle with nothing genuine driving it, and at 142 minutes, it is nearly impossible to defend.

Stonewall is the anti-"Selma," a movie that not only fails to fully capture the energy and importance of a true event but that fails so completely as a film that it is almost impressive.

Blackhat is a staggering misfire by a whole bunch of talented people, terrible in a way that only a good filmmaker can accomplish, and it kicks off 2015 by setting the bar very, very low. Things can only get better from here.

I think Sandler's miscasting leads to a real deficit of energy at the center of the film, and then the conceptual misfire is so dire that I just don't know what to say beyond that.

It would be a lot easier to give the film a soft pass if it wasn't so aggressively lazy.

There are some actual big ideas bubbling around somewhere below the surface of the film, but it's so ham-handed, so unable to grapple with the full implications of any of those ideas, that it actually becomes offensive.

Walking out of the film, I might have given it a C+ or a C based purely on the fumes of Murray's better work that are present here, but the more I've thought about it, the more infuriating it is to see something this lazy and familiar from Murray at this point.

It is a ridiculous story, and these aren't human beings acting in a way that any of us would recognize.

With no clear purpose in telling the story and no real focus in the actual storytelling, Pan never gets off the ground.

I don't think Strange Magic is terrible movie, but it is a very weird one in many ways, and perhaps the most bizarre thing about it is realizing that we finally have a fairy tale written expressly for the age of date rape drugs.

Brutally unfunny, visually off-putting, and filled with cameos so embarrassing I am bruised from holding a cringe for a full half-hour, Zoolander 2 is every horrible decision you can make with a comedy sequel wrapped up into one nigh unbearable film.

Competently made but morally repellent, Get Hard may be my least favorite Will Ferrell feature film.

There is nothing about Terminator: Genisys that suggests that this film was a compelling, urgent, essential dream for anyone involved. This is all about squeezing cash out of people who are fond of the original films, calculated and without any of the soul of Cameron's films.

Pacino himself isn't exactly bad, but he's far from good, and it's difficult to see past the terrible role.

A hilariously ham-handed attempt to dig beneath the Kelly mystique, only to find further foil-wrapped layers of mystique beneath. Well, maybe not mystique so much as a perfumed blankness.

There isn't a sense in the film of this tragedy as a systematic, organized atrocity affecting millions.

It is a staggeringly bad film, made up of lots of faulty pieces.

An entirely laughless affair and easily the low point of Cohen's career so far.