The pacing is uneven, the frenetic action is rarely suspenseful, the dialogue is neither witty nor intelligent, and the anticlimactic endgame drags out to an improbable conclusion.

Sadly, Madame Web fails to rise above its pedigree as a lesser superhero movie. It does nothing to convince viewers that there’s value to be found in a story not featuring a marquee comic book character.

When compared to the recent influx of musical biopics, this one sits somewhere in the middle; there is too little depth to elevate it to the top, but the soundtrack is too strong to let it sink to the bottom.

An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.

Remove the musical elements and the 2024 version, directed by newcomers Samantha Jayne and Arturo Perez Jr., resembles an amateurish imitation of the 2004 original. Add in the mostly-awful songs and it becomes an in-your-face assault on the senses.

There’s still quite a bit to like here, from the strong sense of atmosphere to the layers of a Hitchcockian plot, but this is not a complete movie. And when viewers are laughing at a movie rather than with it, something has gone awry.

For many adults, sitting through this will be an exercise in tedium. It offers about as much as an oversized, overlong Saturday morning cartoon and if that's where expectations are set, it probably won't disappoint. Talk about setting the bar low, though.

The "Da Vinci Code" was adequate but forgettable. "Angels & Demons" was godawful. Inferno is somewhere in between - watchable but by no means worth the money and effort necessary to see it theatrically.

Pretentious and self-indulgent -- those two words come to mind when considering CQ.

A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.

Legend seems like a movie Scorsese might have made if he wasn’t paying attention - the elements are present but they are clumsily assembled and the outcome underwhelms.

There's more contrived melodrama in these two hours than romance fans could reasonably hope for.

If you take The Postman at face value - that it's a straightforward, post- apocalyptic adventure tale, then it could seem like one of the worst movies of the year, if not of all time.

If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.

The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.

What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.

There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.

Happy Death Day 2U is a passable way to throw away 100 minutes if you’re willing to turn off your brain and pretend it’s making sense.

Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.

A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.

In a way, it’s almost worth recommending Men for the first 70 minutes. At that point, a quick exit would preserve the illusion that this is some sort of modern horror classic. For those who stick around, however, the final assessment isn’t likely to be nearly as favorable.

Another Simple Favor feels lazy and overplotted, and it definitely overstays its welcome.

The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.

At its best, Bad Santa 2 feels like an echo of its predecessor. At its worst, it’s unfunny, crass, and uncomfortable (not in a good way).

Insultingly, Frankenheimer concludes the movie with a short sermon about the fine line that separates man from beast. If the director actually wanted to get this point across, he should have worked it into the film rather than tacking it on as an afterthought. It is, after all, an integral aspect of the source material. That it has been so thoroughly excised from the main plot isn't The Island of Dr. Moreau's only problem, but it's symptomatic of the flawed mindset that went into planning this occasionally incoherent and ultimately disappointing motion picture.

Are you weary of the high-octane, CGI-heavy action offered by the Fast and Furious series? If so, then it would be hard to find any reason to recommend the film.

The level of quality is such that this does not deserve a theatrical distribution and will only find appeal among pre-teen kids or those who have been fans of the games since their inception more than a decade ago.

Chernobyl Diaries is afflicted with a fatal flaw that damages many horror films: after a better-than-average setup and a promising first half, everything falls apart.