When Getty isn’t on-screen, the movie is a bit of a bore and it doesn’t help that Mark Wahlberg is woefully miscast and the thriller elements are anything but tense or suspenseful.

Unfortunately, despite a surfeit of talent in front of and behind the camera, the movie is unable to overcome a shaky narrative whose increasing preposterousness ensures it’s difficult to take seriously.

Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.

Hysteria's "hook" is that it chronicles the development of one of the 20th century's most popular home appliances: the vibrator. However, although the details surrounding the deplorable state of women's medicine during the Victorian era are intriguing, the central story - a romantic comedy between a progressive woman and a forward-thinking doctor - is flaccid.

Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.

Maybe it's foolish to be disappointed by a pure popcorn movie, but as I walked out of this film, I felt it had failed in its mission of pure entertainment.

It fails to sustain its comic momentum or high energy level. The first half is fresh and funny, but it doesn't last.

Once Upon a Deadpool is as crass a cash-grab as one is likely to find, but at least the filmmakers/studio are upfront about their motivations.

It is a recognized truth of the movie industry that even the best film makers will have disappointments, and, for Woody Allen, Celebrity fits into that category.

Howard stages several powerful sequences, including a harrowing childbirth scene, but the film falters in its final act, losing focus and stumbling toward an anticlimactic conclusion.

A palatable film. It offers a few solid laughs and will provoke some smiles.

By the time the film is well into its second hour, we begin to wonder whether there's ever going to be a variation on the carnage and mayhem. As it turns out, there isn't.

Heartbreaker isn't disappointing enough that it will cause pangs of deep regret for anyone who pays to see it in a movie theater, but it will go down more easily as a home viewing option.

Whether it’s the screenplay, the direction, or the acting, Art of Love never ascends to the level that would make it more of an experience than a way to pass a couple of hours.

The dramatic scenes aren't generally effective, but the comic bits more than make up for most of the deficiencies. Those searching for something that examines a crumbling marriage with greater depth and sensitivity would do better watching Judy Davis in Husbands and Wives.

They say the third time's the charm. Not with the Insidious series, it isn't. Admittedly, installment #3 is an improvement over #2, but it fails to reach the highs of the chilling-but-uneven original.

There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.

While the climax does not lack for action, the overall resolution feels flaccid and undercooked.

The Last American Virgin tries to inject some honesty and emotional depth into an otherwise silly and raunchy storyline. Its success is mixed but that element at least makes it more interesting to watch than at least 75% of its contemporaries.

The Gray Man is part of an unflattering pattern where creativity plays second fiddle to algorithms.

Loud, kinetic, unflinching action.

It's not edgy or groundbreaking, but it tells the story it sets out to tell. For what it is, Kosminsky's picture is polished and effective. If only the movie had taken more risks or possessed a keener edge...

Despicable Me 3 is an example of how even the most promising animated franchises can hit a wall if allowed to continue too long.

It’s disposable entertainment that will put some spare change in the distributor’s coffers while never coming close to replacing its venerable antecedent in viewers' hearts.

Forgettable? Yes. But good enough to provide a couple hours’ diversion.

It’s not that there’s anything fundamentally wrong with the film. Some of the individual moments are impactful or effective at evoking nostalgia. But, as they say, the whole is less than the sum of the parts. It feels like a watered-down replica of other, better coming-of-age stories.

A quirky romantic comedy that suffers from a rare cinematic malady: it's too short.

Kids will enjoy it and parents will be sufficiently diverted that they won’t be tempted to take a nap. It’s disposable entertainment but the receptacle in question doesn’t have to be a garbage disposal.