The Dig feels like a condensed version of a story that, given more time to breathe, might have been fascinating and emotionally effective.

Ritchie’s strengths as a filmmaker don’t include developing complex female personalities so Dockery’s Rosalind is more like a male fantasy caricature of a strong woman than an actual character.

The story as a whole seems stale and overly familiar.

Jupiter Ascending feels like a truncated, Cliffs Notes version of something that might have worked a lot better as a mini-series. Two hours is too short for this tale and the end result suffers greatly because of that restriction.

Although the action scenes are competently executed, there's nothing here to raise the pulse.

When compared to today's visual standards for animated films, Hoodwinked is far below the curve.

Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.

The film's biggest problem is its director. Marc Forster is an experienced art house filmmaker with impressive credits (most recently, "The Kite Runner)", but he is clueless when it comes to action sequences.

The film, directed by South Korean Jee-woon Kim, hits all the necessary action beats and effectively blends in the humor.

Nothing in T2 is memorable.

No one is going to remember the movie in a month, but for Mommies and Daddies seeking a night's break from their children, it's adequate entertainment.

Distilled to its basics, it's little more than a sit-com that has been tarted up with scenes of projectile poop, odd sexual fetishes, and knife wielding babies. It all seems a little tired and, more importantly, not as funny as it should be.

Although McHale’s theories are interesting to listen to, there’s a smoke-and-mirrors quality to them. One thing is certain, however: You Don’t Nomi is a much better motion picture than the movie it profiles.

Overall, I found the film to be somewhat disappointing – another instance of a streaming service pouring big screen dollars into a project of only middling quality.

It relies on gross-out scenes to earn the right to be called “disturbing” and seems more interested in delivering schlocky shocks than suffocating the viewer with suspense or dread.

Celtic Pride has numerous weaknesses, most obviously an overly-happy ending that seems distressingly sincere (as opposed to lampooning this kind of finale). The film also exhibits an unwillingness to divorce itself completely from sports film cliches and conventions. On the whole, however, Celtic Pride is surprisingly effective and entertaining. You don't even have to be a Celtics fan to appreciate it. In fact, considering who becomes the butt of the film's ultimate joke, perhaps it's best if you're not one.

Marry Me isn’t good enough to transcend the limitations of the genre but it’s a passably enjoyable throwback to the heyday of rom-coms.

This Means War is not funny enough to succeed as a comedy. It's not emotionally deft enough to succeed as a romance. And it's not exciting enough to succeed as an action film. It's a high-energy, fast-paced explosion of moments that can be edited together to make a compelling trailer.

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

Tron: Ares is fan service at its finest: a bold, brash spectacle that can’t get enough of its Easter eggs and callbacks. But there are two problems with this approach: it can be alienating for those outside the inner circle, and it prioritizes sensory overload over storytelling.

Ultimately, however, owing to too many derivative elements and an erratic story that runs out of steam about halfway through, Metro is only partially-satisfying. I suppose any viewer's reaction will depend on whether they choose to see this particular glass as half-full or half-empty. Murphy fans and action junkies will probably find enough here to keep them involved and upbeat. Everyone else will likely see this material as disappointingly over-familiar. In the wasteland of early-1997 releases, you could do worse than Metro, but, by year's end, few people are likely to remember the title, let alone the premise.

Watching The Sense of an Ending, I was struck by the realization that this should have been a good movie. Unfortunately, as is too often the case, something didn’t translate from the written page to the big screen.

Some of the more serious (and non-homicidal) scenes recall "Prelude to a Kiss" (a gender-swapping movie in which Meg Ryan switches bodies with an old man).

There are far worse horror sequels clogging up the streaming services, and Ready or Not 2: Here I Come at least occasionally delivers on the promised gore and dark humor. Still, for those who just want to see Samara Weaving go scorched-earth on some devil-worshippers one more time, there are enough viscera and sharp objects to provide a passing entertainment.

Take away Bruce Willis and this is straight-to-video material.

The Equalizer 3 is the messiest of the three movies and the most narratively fractured, but it should still satisfy those who consider themselves to be fans.

The film's central flaw is that the characters are haphazardly developed, and don't come across as more interesting than the props.

This is one of those grim movies that requires viewers to endure the experience; however, instead of providing a worthwhile payoff, it never varies from the expected trajectory and leaves the viewer as cold at the end as the emotional temperature of the key relationships.