Considering the hype, it’s a disappointment. It might have been better to populate the movie with three unknowns and spend a little more on the screenplay. You can have The Rock, Wonder Woman, and Deadpool, but it doesn’t mean much if they don’t have clever things to say and meaningful things to do.

This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

Angel Has Fallen feels like it was cobbled together with cliched action scenes and circumstances overused by the once-popular TV series "24." Angel Has Fallen tries hard (and often succeeds) to topple the Kiefer Sutherland program on the “preposterousness” scale.

You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.

Those who are more discriminating than the average 9 year-old will discover that The Quest for Camelot rapidly grows tiresome. Consequently, any adult on a search for the holy grail of animated pictures is advised to keep looking.

There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.

It’s supposed to be a screwball comedy but someone forgot to include the laughs.

There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.

Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.

A hard-to-swallow drama about sibling rivalry, mental illness, and bad therapy. Cobbled together using clichés and contrivances, Brian Shoaf’s feature debut perceives mental illness more as a personality quirk than a sickness and treats it almost as a kind of magical realism.

This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.

It’s not a bad movie but it is too long and lifeless for what amounts to a two-hour commercial for a three-minute ride. Even the wait time to get into one of the moving chairs doesn’t take as long as watching the film.

Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.

We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.

After teasing the viewer with the possibility that this movie might be interested in doing more than offering jump-scares, claustrophobic point-of-view shots, and child-in-peril scenes, Come Play proceeds to provide those all-too-familiar sequences and more. Worse, because the lead character is autistic, it doubles down on the issues that can arise from communication difficulties.

This is a perfect example of complete and utter mediocrity.

All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.

By cramming far too much material into 114 minutes, The Huntsman: Winter’s War feels rushed and incomplete. It doesn’t help that the screenplay is at times awful, forcing accomplished actors to recite excruciatingly bad dialogue while maintaining a straight face.

V/H/S comes across as a production that wants to be more than it is but, as they say, The Emperor has no clothes.

Enough is Apted at his most commercial, and, unfortunately, his least compelling.

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

Supercon has its moments, although not nearly enough of them, and its grossest-of-gross-out scenes might be disgusting enough to cause John Waters to wince.

40% fight scenes and 60% fan service, Simon McQuiod’s slash-and-gore fest will leave the uninitiated scratching their heads while the die-hards jump to their feet and applaud.

When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.

The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.

Made well, this sort of material has the potential for a deliciously lurid two hours. But Feig's lack of aptitude with the material results in a cheap and artificial product, never really drawing the viewer into its web and spinning an overlong yarn that fails to embrace an identity.

Were it not for the participation of two A-list actors, Nicole Kidman and Colin Firth, Before I Go to Sleep would have been headed straight to video. The inclusion of those two doesn't make the film any better, just less anonymous.

In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.

Designed for and targeted at prepubescent girls, the holiday-themed fantasy adventure drowns in CGI, underdeveloped characters, and a plot utterly devoid of energy and excitement.

If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.

While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.

Although the film’s sci-fi elements are flimsy at best, it boasts some strong action sequences. The special effects sometimes feel a little too video-game-y but, for the most part, they get the job done.

The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.

When it comes to waterborne movies, Wolfgang Petersen’s "The Perfect Storm" (not a horror film) is more terrifying than Mary.

6 Below is meant to be inspirational and, although it’s not specifically designated as a faith-based movie, it often feels like one.

Despite its general failure, some scenes from Clash of the Titans remain memorable. Chief among them is the duel with Medusa, a scene that ripples with tension.

Ultimately, however, appreciation of The Phantom of the Opera will hinge upon your opinion of Lloyd Webber's skills as a composer.

Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.

Likely won't please fans of the original TV series, but the movie hasn't been made for them.

Simply isn't a very good motion picture.

Because so little of it works, the film is disposable.

Tarnishes the image of its predecessor but the original Independence Day wasn’t all that good to begin with.

Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."

The film isn’t funny enough to warrant a recommendation and, although it doesn’t desecrate the less-than-sacred image of the earlier film, it proves itself to be superfluous. However, Coming 2 America will disappoint only those who believed Murphy could do something amazing or hilarious with this dubious property.

I'm not a religious man but, Hallelujah! I may not be done with Meyer but at least I'll never again have to cope with the angst, self-absorption, and vampire mythology mutilation that characterized these five movies.

While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.

Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.

At best, Gibson’s direction could be considered pedestrian. He fails to generate much tension prior to the climax and the characters never do enough to engage the viewer. The protagonists are bland and the villain lacks charisma.

Without Lena Olin's performance, Romeo is Bleeding could have been an ordinary, or even sub-par, film noir. However, with a villainess as fun as Mona Demarkov, it's impossible not to find some enjoyment amidst Gary Oldman's dreadful seriousness and all the bloody corpses. There are some plot twists, and a few unexpected happenings, but in the end, it's Olin's character that keeps the audience in their seats.

Bullet to the Head is bloody and violent but not nearly as much fun as it should be.

The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.

There's nothing remotely memorable about this walk.

Jingle All the Way is forgettable, and that, more than anything else, is why I recommend passing up this holiday offering.

Science fiction has an obligation to seduce the viewer into applying the "willing suspension of disbelief." With its plot holes and head-scratching incongruities, Transcendence fails in this arena thereby making the production as a whole feel bloated and unsatisfying.

Stuber is as bland and generic a mismatched buddy action-comedy as you’re likely to find.

Poorly paced with a tendency to veer into the pretentious and littered with contrivances and dramatic short-cuts, I Origins fails to provide a single three-dimensional character or compelling relationship.

The Break-Up is like Danny DeVito's "The War of the Roses," but without the wit, the acid, and the blacker-than-black humor.

The movie works when focused on character interaction and buddy-movie tropes, but the action elements are perfunctory at best and boring at worst. Bill Dubuque’s script is never able to balance out the ledger.

You laugh a few times but, in the end, you wonder why you bothered.

The overall production is bland and overcooked and the reliance on nostalgia and regurgitation often renders things dull and routine.

What's missing is honesty. It has been supplanted by artifice.

The curious thing about Father of the Bride Part 2 is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example

A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.

Is Woo using this ultra-violent experience to make an anti-violence statement? Perhaps, but even if that’s the case, it doesn’t work. Whatever the director is trying to do with the movie, it makes it for one big lump of coal in the 2023 cinematic stocking.

As unlikely as it may sound, 2004 is the year when directors Kevin Smith and Garry Marshall have made virtually the same movie...Nevertheless, it's impossible to deny that Raising Helen is a near clone of "Jersey Girl."

There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.

It's a cobbled together mess of clichés that fails to surprise at any of its turns.

In trying to do too much, Nowhere to Run succeeds at too little. Action fans will be disappointed by the amount of talk and the lack of fights. Drama lovers (few of whom will even bother with this movie in the first place) will have a hard time swallowing plot's artificiality. In the final analysis, despite not being a terminal bore, Nowhere to Run doesn't go anywhere worth following.

Scream 4 is so obsessed with the self-referential element that made the original Scream unique that it loses the capacity to be genuinely scary or funny.

Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.

Much of the average viewer's time in the theater will be spent waiting somewhat impatiently for the high-energy climax. Catnaps are an advisable way to survive some of the slow spots.

A standard-order romantic comedy with many of the expected twists and complications. It suffers from the flaw of not giving the lead characters enough time together.

The first Aquaman may have been low-brow fun but the second is a chore from start to finish.

The bottom line: If you know what the Anti-Life Equation is, this movie was made for you and you might enjoy it. If that sounds like comic book gobbledygook to you, it’s safe to say you won’t be missing anything by not giving up four hours of your life to sit through this.

For those who are interested in observing the habits of real lions and viewing genuine life-and- death struggles in Africa, I direct your attention to The Leopard Son, which is still in theatrical release. That well-constructed documentary has stronger drama, tension, and cinematography than the supposedly-real story told in The Ghost and the Darkness. True, it's missing Tom Wilkinson sneering, Michael Douglas smirking, and Val Kilmer looking bored, but no movie can boast everything.

Although Going in Style’s heist represents a high point and gets props for being suitably clever, it’s swamped by bad melodrama and lame comedy.

An unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle.

Isn't terrible. It's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating, involving character study, but never does more than scratch the surface.

The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.

The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortunately, that's about all it does.

For Vin Diesel, starring in XXX is a wonderfully smart career move. Too bad neither "wonderful" nor "smart" are applicable adjectives to describe this film.

A feeling of hopelessness pervades Sleepwalking.

This is far from the worst horror movie I have seen. In fact, it’s not even the worst Exorcist movie. No, it’s not scary. It lacks suspense and tension. But the first hour isn’t half-bad and there are isolated moments when Green seems to be onto something.

There's not a slowly-paced scene or a dull moment to be found. If nothing else, this film won't bore the average viewer. However, when Hackers has been dissected, what's uncovered beneath the flashy skin is an old-fashioned, film-by-numbers thriller.

The length is the film's undoing. No matter how tantalizing the premise, overexposure leads inevitably to boredom.

The film has lofty goals, but comes across as leaden and pretentious. It's a character study in which the lead participant is the least interesting person in the movie.

Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.

Pride has little to be proud about.

The concept of conflating a heist film with a revenge thriller would seem to have a lot of promise. The problem with Wrath of Man is that, although both aspects are apparent, neither is well-crafted.

I'm sure there's an interesting story of sibling rivalry somewhere in She's the One, but Burns has cluttered it up with so much artificiality that it never gels. Who really cares whether Francis and Mickey make peace with each other, or who ends up with what girl? If these things mattered to us, She's the One would have been a success, but since they don't, it isn't. Since New York only needs one Woody Allen, maybe for his next film, Burns will try stretching his thematic and geographical boundaries. Otherwise, his promising film making career may already be in trouble.

While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.

This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.

From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.

There's nothing in So I Married an Axe Murderer to recommend the film, even to die hard Saturday Night Live and Wayne's World fans. This uninspired, completely forgettable mystery satire is bursting with the brand of juvenile humor that only a select few seem to find funny. When it comes to guys named "Mike Myers", it's debatable who's less watchable: the ex-SNL actor or the mass murderer who keeps surfacing in the seemingly-endless series of Halloween films.

It's not so much a bad movie as it is a pointless one.

The end result is a meandering story featuring shallow, unconvincing characters attempting to illustrate the evils of technology in its undermining of individual liberties. The Circle offers a lot of good bullet arguments but this is a movie not a Powerpoint presentation.

If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.