Although this film has more cracks than the collapsing tunnel, thrill-seekers in search of two hours of cinematic action will find that Daylight falls considerably short of being a disaster.

Temple shows a better path for horror films to follow but the screenplay is too threadbare and the characters too poorly developed for it to really work. This is about 2/3 of a solid effort – unfortunately, the other 1/3 was never made.

I'm not convinced there was a compelling reason to remake La Femme Nikita. The original stands well on its own, and, having been made only a few years ago, it's definitely not dated. Nevertheless, mainstream American audiences hate subtitles, so this won't be the last foreign language film to receive this treatment. In terms of style and originality, Point of No Return can't compare to its inspiration, but, for a Hollywood thriller, it's more than adequate.

It's an awkward technique that outlived its usefulness more than four decades ago. I like the movie, but hate its presentation.

Weaknesses in the movie’s final 15-20 minutes don’t detract from how enjoyable the rest of the film is with its over-the-top gore, wild misdirections, surprising twists, and unsubtle stereotype-based lampooning.

This is a beautifully shot motion picture, and there's no doubt that the lush scenery upstages the actors.

The most enjoyable parts of The Secret Life of Walter Mitty are his fantasies, such as one in which he stands up to his boss in a way he never would in real life.

Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.

Take away the performances, and all that would be left is a cheapish B-grade motion picture.

Wonder Woman 1984 is overlong, tonally inconsistent, and poorly paced. Although it raises the bar during its final hour, the viewer has to navigate about 90 minutes of action-deficient, sometimes nonsensical narrative to get to the point where the title character (again played to perfection by Gal Gadot) does something other than moon over her lost love, Steve Trevor (Chris Pine).

The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.

A movie that is relentlessly inoffensive and completely unoriginal –- two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.

Although The Muppet Christmas Carol doesn’t really work as an adaptation of the beloved Dickens novel or as a Muppet movie, it nevertheless works on its own terms for a niche audience. It’s the kind of high concept family film that can be carted out every Christmas season and enjoyed in the same way as “Frosty the Snowman”, “Rudolph the Red-Nosed Reindeer”, or “The Year without a Santa Claus.”

As a follow-up/homage, Chapter 1 isn’t bad but it feels superfluous, adding little substantive to what was previously provided by The Strangers and the second film in the series, 2018’s The Strangers: Prey at Night.

The movie, which features numerous dead-end side-stories and glaring plot holes, is short on narrative and long on allegory.

I appreciate that Ponsoldt doesn't go for cheap tears through over-sentimentality, but his detached, low-key approach distances viewers from the characters. I watched the drama unfold from afar but was never involved on an emotional level.

Aquaman refuses to do anything original or unpredictable and turns into a by-the-numbers tale of how the trident-carrying King of Atlantis becomes a protector of both land and sea. It accomplishes this by hoping that special effects saturation will compensate for screenplay weaknesses.

The film's notable quality is the music and as soon as one song is finished, we're ready for the next one. Unfortunately, there are often long passages of dialogue and narrative to endure before getting there.

The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.

For those who enjoy the saturation style of humor and appreciate the way in which parody is not pushed too far into the absurd, Walk Hard is not without merit.

Aside from the lip service paid to the pros and cons of releasing free hydrogen onto the world market, Chain Reaction doesn't contain anything that we haven't already seen this summer. The explosive destruction that wipes out a portion of Chicago looks like it could have been excised from Independence Day. The action sequences recall Mission Impossible, Eraser, and The Rock, albeit with less energy. The concept of government agents being bad guys has been used so often that it has long since turned into a tired cliche. Chain Reaction isn't dull -- the film is paced to keep audiences attentive -- but the lack of originality dampens its enjoyability. As a result, box office reaction will almost certainly be more like a spark than an explosion.

Whatever the reason, the characters often seem only half-formed and there's a strange artificiality about the entire endeavor. Egoyan has never been a realist, and his style has contributed to his ability to deliver a knockout punch. Here, that punch is missing.

Perfect Sense offers an epic tale seen through the prism of a tiny, intimate story. It's the inverse of "Contagion," which sacrificed character to scope.

With Mexican-born director Everardo Gout at the helm (DeMonaco having stepped away from directorial duties following Election Year), the Forever Purge is adept at providing the violence and gore fans expect from an exploitation flick. And, despite its pretense of offering political commentary, that’s really all this movie is.

In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.

The scenario explored by Ben is Back starts out strongly but, with writer/director Peter Hedges unwilling to remain firmly rooted within the hard, mundane rhythms of a family drama, it loses focus and borders on the preposterous as it races toward an improbable climax.

It is not as engaging as "The Royal Tenenbaums," but about on par with "Rushmore" and "Bottle Rocket."

Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.