One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.

This picture doesn't have deep enough currents to succeed as a psychological thriller and, as a ghost story, there are times when it has trouble treading water.

When this movie is quiet and introspective, it speaks with a clear voice. That insight gets muddled, however, the more forceful Singleton becomes.

Glass, the third film in what has become a trilogy, comes across as a mix of half-formed ideas baked into an uneven casserole. Overlong, talky, filled with meta references, and with a strangely low-energy tone, the movie never fully gels.

An intriguing blend of globetrotting neo-noir and road trip plot elements, The Wedding Guest often seems on the cusp of greatness without ever getting there. The film classifies more as a disappointment than a success because, despite its little triumphs, it fritters away too many opportunities and suffers through a turgid middle act.

All These Small Moments offers a mix of honesty and artifice. Some of the scenes simmer with truth; others are too obviously the construct of a screenplay.

Although advertised as a family-friendly feature, A Wrinkle in Time is a poor choice for younger children. The glacial pacing of the first half-hour, coupled with less-than-easily-digestible chunks of exposition will cause many kids under 10 (and a few adults as well) to squirm in their seats with impatience.

An offbeat romantic comedy that almost - but not quite - works. The characters and situations are a little too quirky for their own good.

Dark Phoenix is closer to the comic book story than the previous iteration, retaining many of the core elements. Unfortunately, it suffers from a massive condensation that not only mutes the film’s emotional impact but creates an erratic tone.

The 94-minute running time is too skinny to do the premise justice and The Greatest Hits feels like a Cliffs Notes version of a longer, better story. Plus, for a movie that relies on music for its emotional core, the soundtrack is lackluster at best.

Even the characters with the most screen time are (at best) slightly developed – there’s just enough humanity for us to be interested in whether they survive, although any emotional attachment is minimal.

The voices were chosen more for their big name appeal than for their ability to bring life to the drawings. The storyline is flat, linear, and shallow.

Rudy is intended to be triumphant and inspirational, and, in a cliche-riddled fashion, it attains those aims. Critics of the film will rightfully point out the instances when it wallows in sentimentality, but much of the story is true-to-life. While events along the way have been "Hollywoodized", at least the ending has not been overtly embellished; films of the 1975 game exist to prove that this is how events transpired.

The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.

In the end, I was more letdown by the movie’s inability to draw me in than impressed by its offbeat premise.

While the result is far from the pinnacle of Disney’s family-friendly production hill, it’s at least as good as most of the other animated-to-live-action transformations.

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.

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

Ted Geoghegan’s Mohawk is taut, bloody, and uncompromising – all with a dollop of social commentary thrown in for good measure.

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.

It's a little too low-key to be an effective romance and a little too soft to be anything more ambitious. Ultimately, it's neither offensive nor horrible; it's just another unspectacular, uninspired entry on Nora Ephron's erratic resume.

Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.

A genial and unremarkable comedy with its share of tepid laughs. It's a significantly weaker offering than its edgier, livelier older brother.

The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.

This is a mediocre horror/comedy that deserves neither high praise nor disparagement.

Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.

Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.

There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.