It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.

Although there is a political element to this movie, however, it works on a primal level – that of a person struggling to find not only a path forward but some kind of meaning in an act that lacks reason, compassion, or sense.

While Seven lacks the cleverness of the superior "Usual Suspects," it's strong enough to hold its own against most other thrillers.

Unfortunately, for all its button-pushing, the movie's biggest offense is that it is often tedious and meandering and it takes at least 30 minutes too long to cross the finish line.

High Society doesn't just have a voice -- it has a heart and a soul as well.

As an introduction to the story for someone with no previous exposure to Oliver Twist, Polanski's movie is adequate.

The movie, written for the screen and directed by Scott Cooper (who helmed Jeff Bridges’ Oscar-winning performance in "Crazy Heart"), is careful not to demonize anyone and make the path to redemption both slow and methodical.

The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

There's not a single original moment to be found in Pacific Rim's 130-minute running time, but that doesn't much matter because the familiar beats are conveyed with maximum expertise intended to provide a visceral experience.

The film, anchored by a towering performance from Dwayne “The Rock” Johnson as Mark Kerr, is at once a sports drama, an addiction-and-recovery story, a tale of toxic romantic love, and an ode to male friendship. Unfortunately, it doesn’t fully succeed as any of these, because with so many elements competing, none has the room to truly emerge.

The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

Despite providing an opportunity to spend 147 minutes in the company of people we have grown to know and love over the years and advancing the narrative toward its final cataclysmic confrontation, The Deathly Hallows Part One underachieves. At a time when Harry Potter should be soaring to new heights, it remains curiously grounded.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

As a means to finally bring the Fantastic Four into the MCU, First Steps is as successful in its own way as Spider-Man: Homecoming was. In addition to representing an apology for the previous big-screen botching of Galactus, the film puts all the foundational pieces into place.

For romance junkies, the film checks all the boxes. For those who want a little more, it comes complete with a smart script, likeable leads, and a willingness to occasionally tweak a trope or two. My only complaint about Plus One is that the ending feels a little rushed.

Although I was suitably diverted by Last Breath, I couldn’t help but feel there was a missed opportunity to tell a more riveting story that, for whatever reason, the filmmakers chose not to pursue.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.

70% style and 30% substance. It has a plot and characters, but those are almost beside the point.

Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.

Perhaps the most disappointing thing about Suffragette is that it too obviously wants to be an important movie. The self-consciousness of this desire is evident.

Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.

Hard-core science fiction fans will likely greet Sunshine with a smile. Others may find this to be an odd motion picture, but there's enough going on that even those who are expecting something flashier should still be engaged.

Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.

This is essentially a familiar story told with consummate skill.

It mostly works although the tension never quite escalates to the levels reached by Ridley Scott’s original and James Cameron’s even-better direct follow-up.

Frozen II is a worthy follow-up with enough heart, action, and music to entertain younger and older viewers alike.

Disconnect is by turns frustrating and fascinating.

Young is very good in her part, making Eva a strong, flawed character whose depth helps to counterbalance the shallowness of everyone else. On the whole, however, The Damned wasn’t able to achieve what I was hoping from it and, rather than being an overlooked gem, it’s instead simply “overlooked.”

Maxxxine is the weakest of the three members of the X Trilogy. It’s as if West and Goth were too enamored with the character to let her fade away, so they contrived a scattershot and ultimately unsatisfying way to return her to the screen.

As disappointing as the wrap-up is, it can't erase the chilling psychological warfare that represents the majority of what precedes it.

One of the most uplifting and delightful films to have come along this year.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

The cinematic horror genre, like the science fiction one, has been badly hamstrung by poor films, and several of the Nightmare on Elm Street entries have been at the forefront of the decline. Therefore, it's somewhat ironic that one of the most intelligent and creative efforts to come along in a while bears the Nightmare theme, title, and signature villain.

The underwater sequences, which are choreographed and directed with great skill, are Thunderball's standout feature... Thunderball is classic 007 -- not the best picture in the long-running series, to be sure, but a more-than-worthwhile diversion for the action-loving escapist in us all.

This movie is an entertaining and sometimes wildly-exhilarating ride.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

Girls Town does an excellent job of uncovering the angst, pressure, and doubt associated with the late teenage years. Its a refreshing film, not only because it shines the spotlight exclusively on girls (all the male characters are incidental) but because it does so without a whiff of exploitation.

Captain Marvel, coming only a year after the fantastic "Black Panther," is a disappointment. The acting and special effects are solid but the writing, by co-directors Anna Boden & Ryan Fleck (elevated from the indie productions where they made their mark) with an assist from Geneva Robertson-Dworet, is lazy.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

With its curious fusion of tear-jerking drama and fish-out-of-water humor, Rental Family is indeed a strange brew—one of those films that sounds slightly ridiculous in synopsis but blossoms into something unexpectedly tender when experienced moment-to-moment.

Clockwatchers offers a perspective of the American corporate office that is both viciously satirical and depressingly accurate.

Rarely are the characters as well developed and believable as they are here.

Williams nails it.

Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.

Those who have learned to enjoy the duo on MTV (for whatever reason) will welcome this as a holiday treat. Everyone else will have a better time if they stay away.

There's little in the basic narrative to grasp and hold the viewer's attention, but the way the lines are delivered and the charisma of the performers lend charm and substance to the overall viewing experience.

Prometheus is the antithesis of the "big, dumb summer movie." Its visuals and special effects can stand toe-to-toe with any of the season's spectacles, but are audiences ready for something with an intelligent, thought-provoking screenplay where the action is secondary? Prometheus is flawed, but stupidity cannot be numbered among its missteps.

There aren't many surprises, but the script is written with a degree of wit, and there are some bitingly funny one-liners (all of which are delivered by Garofalo).

The Pursuit of Happyness is long, dull, and depressing.

With Bombshell, thanks in large part to the contributions of his actors, Roach has crafted a compelling “ripped from the headlines” motion picture that unfolds like a page-turner. Unfortunately, with little room for nuance or detail, it lacks the depth necessary to make it more than a superficial dissection of what amounted to low-hanging fruit in the 2010s series of major headline sexual harassment revelations.

If I wanted to be kind, I’d call Luca Guadagnino’s Suspiria remake “visually striking” and “stylish.” If I wanted to be brutally honest, I’d call it “tedious”, “pretentious”, and even “painful” (although not in a good way).

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

This is the most mature horror movie of the year - far more adult and sophisticated than the tedious Hostel Part II. If you like to be creeped out by movies, this is one to see. It reminds us what it's like to be scared in a theater rather than overwhelmed by buckets of blood and gore.

With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.

An inferior product. It is not well written, well acted, or well directed.

Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.

There are times when it borders on the pretentious but there’s a real, emotional payoff and it doesn’t hurt that veteran actors Michael Caine and Harvey Keitel give Top 10 career performances.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

The promise of Before We Vanish’s early moments is never fully realized, however, as the movie plods and meanders through an overly-familiar narrative on its way to a half-baked and uneven conclusion.

Luhrmann’s movie achieves its goals of highlighting Elvis’ music while providing a capable, if imperfect, abstract of his life. For fans of the icon and his music, it hits enough sweet spots to be worthy of a theatrical viewing.

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

This movie is more of a curiosity than a fully formed motion picture.

Napoleon was without a doubt a complex and controversial character whose shadow loomed large over the first quarter of the 19th century. He deserves a better-focused, more passionate movie than the one Scott has provided.

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.

The character arc of Paul Safranek (Matt Damon) lacks verve and, although some will appreciate the low-key denouement, the film as a whole exudes unfulfilled potential and the ending provokes little more than a shrug of the shoulders.

From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.

In a way, Fury and 1970's "Patton" could be considered companion pieces. Both deal extensively with tank warfare but from different perspectives.

The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.

The movie The Road is nowhere close to its literary sire, but it's probably the best one could hope for from a movie version.

Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.

If you have to see one penguin movie, this is it.

As a dramatic thriller, it does what it needs to do to keep the audience involved and interested, even if some of its most theatrical tricks and twists are more the products of a writer’s invention than actual Washington D.C. activities.

The movie demands a willing suspension of disbelief and, for those who can accommodate, it opens a portal into a hellish, allegorical nightmare about the placid myth of suburbia gone wrong.

Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.

Passably interesting, occasionally compelling, sporadically amusing, and badly lacking in focus.

Geared more toward teens, although that won't prevent older viewers with an affinity for romance from appreciating the vibes it gives off.

Unfortunately, it's almost impossible to make it through the entirety of Ant-Man's two hours without thinking of "Honey, I Shrunk the Kids" as least once, and I'm not sure that's an association the filmmakers were courting.

What's missing from Mockingjay - Part 1 is a strong through-story. The previous films were characterized by engrossing, well-constructed story arcs but Mockingjay - Part 1 meanders.

A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.

As a vehicle for examining the conflict between religion and artistic freedom, Sirens is shallow, and scenes concentrating on this issue dampen some of the lighthearted fun. Sometimes, it's better not to try for too much substance with such an earthy basic premise.

While some of the darker threads in the movie are welcome – Guardians was in danger of becoming overtly jokey – it suffers from many of the same problems that have dogged the latest round of comic book movies: a too-long running time, not enough genuine excitement, a generic villain, and a weak ending that doesn’t justify all the build-up.

The movie's central flaw: it's not funny enough to be worth the price of admission.

Pretty pictures - thats what The Fall has to offer.

There's no question that State of Play feels a little rushed and the density of plot can be daunting, but the resulting tale unfolds with an urgency and sense of verisimilitude that will keep most viewers intrigued and involved without losing many along the way.

Little Odessa is an extremely complex motion picture, layered with powerful themes and fascinating characters.

The Beach House is a middling horror film with aspirations of recalling The Fog or The Mist but lacking the screenplay to come close to either.

The humor in this movie is smart enough that even a moderate level of intoxication or inebriation is not necessary to enjoy it.

St. Vincent may be a little kinder and gentler than the likes of "Bad Santa," but there's enough inappropriate behavior and comedic friction to fuel an entertaining 103 minutes.

Westerns often take themselves seriously and, while Appaloosa is no "Blazing Saddles," there's a refreshing vein of understated humor running throughout the production.