Rockwell is incapable of being boring, so there’s some small entertainment to be found in watching his buttoned-up beta male blossom into full Sam Rockwell.

Oblivious to both narrative logic and the laws of physics, the cliché-filled San Andreas doesn’t nearly have the star power of earlier, better disaster movies it borrows from like “The Poseidon Adventure,” “Earthquake” and “The Towering Inferno.”

It often seems like an acting workshop: Behave as if you are the parent of a dead child.

Shooting in South Africa and Botswana, director Kamaleshwar Mukherjee never lacks for atmosphere, but his film is painfully awkward in execution, from the stiff dialogue to the time-padding slo-mo sequences and glaring CGI.

Treading the same halls as “Kick-Ass” and “Kingsman,” Barely Lethal imagines an academy of teen assassins. Life there is deadly, but not as scary as high school.

Li is powerless when the film slows to a crawl to provide a little drama.

This rambling, overproduced, tone-deaf melange of romance, comedy and drama is only slightly more engaging than Brooks' other feature this century, the unfortunate Adam Sandler vehicle "Spanglish" (2004).

Takeshi's elliptical directorial style here is overwhelmed by the script's crudeness and lack of narrative power.

It’s macho eye-candy of the cheapest kind, endless scenes of gunfire and explosions and rugged, handsome actors running while shooting and yelling.

“First Steps” marks a slight improvement from the preceding trilogy of terror. But Marvel still can’t nail what should be one of its premiere attractions.

Intermittently funny, often vulgar.

This is the kind of movie that gives art-house movies a bad name. Seeing as it’s about lobotomies in the 1950s, it is also ripe for “ice-pick- through-the-eye” jokes about the pain of watching it. But I would never stoop so low.

Director Kevin Bray, whose clichéd style betrays his music-video roots, devotes far too much time to the mechanics of the illogical plot.

It's an interesting story, but the presentation is more like a home movie than something you'd pay to see in a theater.

Two dull people have a dull love affair in Summertime, a French drama that drags on like an August afternoon.

Take away the shaky cam, the indie-film sheen, the “brave” close-ups of Lively looking wretched, and what’s left has all the depth of a 1970s B movie.

Turn the River lacks almost everything Eigeman has as a performer: charisma, wit and snappy delivery.

If you’re going to invest three hours watching a movie about a convicted stock swindler, it needs to be a whole lot more compelling than Martin Scorsese’s handsome, sporadically amusing and admittedly never boring — but also bloated, redundant, vulgar, shapeless and pointless — Wolf of Wall Street.

Would be a perfectly decent B-action movie if it weren't shipwrecked in the last act by laughably ridiculous plotting and a lazily executed climax.

The tone of The Playroom is one of soppy moroseness. This imitation “Ice Storm” is as refreshing as a step into a puddle of slush.

As huge a travesty and a bore as 1956's "Alexander the Great," in which Richard Burton looked equally uncomfortable as a blond.

The willfully eccentric Beyond the Sea seems to be telling us a lot more about its star and director, Kevin Spacey, than its ostensible subject.

Yes, there's some spectacular footage. But there's also an awful lot of filler for a 40-minute movie.

Works just fine as a generic but fast-paced - and rather ugly - cop buddy flick.

Aspires to be a scary suburban satire like “Get Out” or “Hot Fuzz.” But watching adults murder or attempt to murder toddlers, teens and even a newborn baby just isn’t funny. At times, it’s downright sickening.

Providing a hint of redemption is Edgar-Jones, a naturally vulnerable actress who can turn the shallowest of material into something deep. We like Kya and are with her every step of the way, even though at over two hours there about 50 steps too many.

Isn't as relentlessly vulgar or cartoonish as "The Ladies Man" - nor is it a whole lot more realistic.

There was no need to edit it in overly slick ways that often make the story line seem contrived, accompanied by gag-laden narration that frequently made me want to gag.