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

While I thought it was gently moving at times, it feels like Gondry is hoping for a much more powerful impact, and the film just doesn't swing hard enough to make that happen.

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.

If you’re wondering whether you’ll believe Streep is a convincing rock musician, please. It’s Meryl Streep here. She sounds like she’s ready to open for Bruce Springsteen.

The film earns some big laughs, but it never sacrifices character for a punchline.

[Eubank] creates some remarkable images and moments in this movie, and his sensibility leans towards a sort of painterly love of quiet and sustained imagery. He juggles some pretty big shifts in tone here, and doesn't always pull it off, but it's really interesting to watch him try.

The Program works when it has you questioning how on earth this secret could be kept so quiet for so long when so many people knew exactly what was going on.

His characters may spout Kant and debate the ethics of different human interactions, but it's only sugar coating on top of what is effectively a simple and familiar story.

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.

A lushly conceived, exhaustively realized debut feature that'd be pretty formidable stuff coming from a more practised filmmaker -- and derided in some quarters as a self-impressed knock-off.

By the end of this film, they've done a very good job of setting up the next three or four films in the series, but at the expense of this film telling any sort of cohesive story.

Knock Knock has something genuine to say, and it uses some really dark dramatic beats to get there.

Earth To Echo is a little bit big and broad, but that's also part of its charm.

The film is at its best when the storyline gets dangerously real and Bullock’s character struggles to justify the back room king making of a campaign with the needs of the country’s poor majority.

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.

There's nothing particularly wrong with the ghost story itself. It makes sense, there's an internal logic to the way things happen, and Whannell does his best to keep a certain pace up so there are near-constant ghost attacks punctuated by scenes of the characters trying to figure out how to handle them. Quinn's just not a very interesting character.

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.

Central Intelligence manages to be a far more coherent comedy than I would have expected, and it’s a worthy representation of the genre.

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.

I enjoyed the energy of the film, and the cast is pretty solid throughout, but there’s a big problem that is inherent to the idea that we have to make these films bigger and bigger to outdo things that have come before.

[Crudup] responds with a performance that's funny, heartbreaking and confidently musical, anchoring a film with a challenging and sometimes shaky premise that very much requires his steadying presence.

The Interview is laugh out loud funny all the way through, and once again proves that Rogen and Goldberg will do anything, no matter how dark, for a big laugh, and that character is just as important as punchlines in their work.

Meyers wants this to be all sort of amiable and charming and a big warm bath of a film, and it is.

The Neon Demon’s going to frustrate anyone who goes in looking for a conventional film or a thriller that has any interest in actually scaring you. This is a ride, a carefully crafted experience, and it is precisely because it is so immersive and controlled that I would recommend it.

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.

Love may not be as erotic as many expect. The gratuitous sex may eventually start to bore many viewers. Some may even take off their 3D glasses because they simply aren't necessary. Yet, for all its faults, Love is a film that somehow still resonates.

A Little Chaos earns one compliment, but it's unfortunately a backhanded one: it’s watchable.

While Longo's actions were horrifying and his connection to Finkel is unique, Goold somehow can't make this material as interesting as you'd expect it to be.