Agreeable this film certainly is, but the shagginess never seems to take shape.

The tone teeters between delicate and affected, and there’s only so much flitting around and soulful stares a movie can sustain before an audience starts wanting something more earthbound.

Infuriating grab-bag of a movie.

It's a clever concept that should play well on TV and the Internet. But as a big-screen movie, Life in a Day -- which lists brothers Tony and Ridley Scott as producers -- elicits a shrug and a question: Who cares?

Only really little tykes will find the surplus of pratfalls and poo and fart jokes a hoot.

It tries to be an update of "Fast Times at Ridgemont High" crossed with "Pygmalion," but while it has some funny and even original moments, it's too predictable to be "all that."

It isn't the laugh riot of the year.

Slight and unremarkable.

“Pieces” becomes just like every other addiction film, relying on colorful addict characters and torture-porn scenes to arrive at a hopeful end.

A glossy, empty and ultimately unsatisfying — if undeniably entertaining — movie.

Despite the generally talented cast of Anesthesia, its linked-lives format, which we’ve seen so many times before, is frustrating: Too much adds up to not quite enough.

The film is loving but shallow.

Essentially a feature-length commercial for both the growing sport of competitive cheerleading and ESPN2 .

The documentary Tabloid shows that an oddball lead character and a smirky style do not necessarily add up to a complete movie.

The once-funny Robin Williams is still stuck in his excruciating touchy-feely mode.

Disappointingly skin-deep and almost shockingly wholesome, Mary Harron's The Notorious Bettie Page lives up to neither its title nor its advertising slogan, "the pin-up sensation that shocked the nation."

I’d rather put Baby Shark on repeat all day than spend another 90 minutes with this adult horse.

At nearly two hours, Big Man Japan is clever (in a sick sort of way) but overlong. It needs judicious editing -- more mockumentary, fewer superhero antics.

McKellen, Csokas, Bonneville and particularly Richardson are so good and convincing in their characterizations that you can almost overlook the increasingly unbelievable twists that Asylum takes. Almost.

In Maze Runner: The Scorch Trials, selfish oldsters scheme to rob young people of their vital essence, sacrificing them in the process. It’s basically “Social Security: The Movie.”

Starts as a serious examination of the two women's lives, but it descends into a mushy melodrama complete with schmaltzy music and dewy cinematography.

The promising satire then shifts to a typical thriller with bloody shoot-outs, druggings, tazings and a car dramatically plummeting off a cliff. That business wears thin fast. I Care a Lot is almost two separate films, and I much prefer the first one.

Strip away the alt-country soundtrack, though, and you've got a Bette Davis fallen-woman-redeemed picture from 1937.

It's a reasonably funny religious satire that takes potshots at easy targets but is quite watchable due to the participation of two Oscar winners and two Oscar nominees.

A predictable but pleasant kids movie that veers between old-fashioned girl-and-her-horse sentiment and "Ren & Stimpy"-style poo jokes.

Director and writer Riley Stearns’ mediocre comedy aims to be a roundhouse kick at traditional masculinity, but doesn’t manage to take it down in any deep or insightful way.

An action comedy for suburban women that's as toothless as a newborn, and nearly as stupid. It tries so hard to be cute that it practically drools on your shoulder.

Misleadingly billed as a Fallujah documentary, Occupation: Dreamland covers a six-week period when not much was happening there.