Seen today, Going My Way looks and feels like a quaint, old-fashioned production that deserves to have been forgotten long ago.

Carrie is just a bad movie, with only Spacek's performance making significant portions of it watchable. And the film has not improved with age. It looks just as cheap, cheesy, and ineptly made today as it did when it was first released.

The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.

Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.

Although not without its merits, it’s far from a standout even when one considers how lackluster the current indie/art house landscape has become.

Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.

Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.

What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.

In the end, however, it’s all a rather hollow experience (as is too often the case with existential horror).

This mean-spirited and unpleasant production is unlikely to find favor with many either inside or outside of Elvis’ fan base.

Kaufman once again reminds us that, without a Jonze or a Gondry to shape and prune the writer’s constructs, we’re destined to become stuck in a frustrating morass of eccentricity and self-indulgence.

"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

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.

Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.

Is it A Bigger Splash or A Bigger Bore? Despite a strong cast, gorgeous cinematography, and a suffocating sense of sexual tension, this movie takes far too long to get off the ground.

While it’s possible to conceive a compelling story constructed out of the strands forming Joy Ride’s threadbare cloak, that narrative would require a better screenplay and a series of grounded, less ostentatious performances.

It’s a surprisingly flat bio-pic of King’s life between 1972-73 with little attempt to make Riggs into anything more than a two-dimensional caricature/foil.

This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.

Sluggish, conventional, and almost completely lacking in energy.

This new interpretation does few things better than the original, and many things worse.

A mostly failed attempt to merge sci-fi with satire, Mickey 17 suffers from a fragmented narrative and a scenery-chewing performance from Mark Ruffalo that belongs in a different movie (perhaps Poor Things).

Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.

With a theatrical trailer far better than the actual picture, Schroeder's film delivers little more than a healthy dose of disappointment. The picture is watchable, but nothing about it will linger, except perhaps the feeling that, with a more polished script, it might have been significantly better.

Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.

The core problem with Girls Trip is its length. What might be a fun, frivolous affair at 90 minutes turns into an endurance contest as the clock ticks toward the two-hour mark.

As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.

Ant-Man and the Wasp offers nothing close to what we have come to expect from entries into the MCU. Plodding, repetitive, replete with technobabble nonsense and lifeless action, this is easily the worst-written of any of the 20 MCU offerings and may be the worst all-around film featuring a Marvel superhero since Sony rebooted Spider-Man.