There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

This is a perfect example of complete and utter mediocrity.

The humor is spotty, character development is so- so, and there are number of significant plot problems. There's no overriding reason why anyone would want to see Made in America unless they're a fan of Danson or Goldberg.

There’s ample evidence that the producers (and writer/actor Leigh Whannell) are milking a familiar title for all it’s worth – of the four Insidious films, only one has been any good and, although The Last Key may not be the worst of them, it’s easily the most irrelevant and generic.

What is missing in depth and philosophical intent is compensated for with humor and humanization.

Riddick isn't perfect but it's a good high-octane sci-fi tinged action/thriller.

Dennis the Menace is basically innocuous -- creatively barren but offering the kind of light, undemanding entertainment that the under-ten crowd finds so appealing. Most children will get a kick out of it, although adults roped into accompanying their offspring may find themselves yearning to escape through the nearest exit.

Spenser Confidential is a perfect Netflix movie – a mid-budget action/thriller featuring a recognizable star and not requiring much in the way of attention or dedication from a viewer.

Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.

Perhaps the most impressive aspect of Green Dragon is Bui's recreation of Camp Pendleton, circa 1975 (filming actually took place in Camp Pendleton).

Although each episode might be marginally entertaining in its own right, the overall effect is that the movie isn't funny enough, exciting enough, or dramatic enough to warrant two hours of an audience member's time.

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

The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.

Director Roger Donaldson has a lot of fun with his premise. The top-notch special effects, which use a lot of seamless computer animation, make the climax look very nice. The rest of the film is essentially one long chase sequence with a couple of nude scenes and maulings added to liven up the proceedings. No matter what genre you identify Species as, it's not top of the line, but there's also quite a bit of room beneath it.

The movie is more about the events that resulted in Felt becoming Deep Throat than his work in that role. Although not the definitive Watergate movie, it illustrates an aspect of the scandal that to this point has not been given ample attention by filmmakers.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Imagine Me & You isn't unpleasant, but it is unremarkable. If nothing else, it proves that gay romances can be just as uninspired as their heterosexual counterparts.

Gerwig transforms the ordinary screenplay into something that is by turns charming, touching, and funny.

When it comes to war love stories, The Promise isn’t going to challenge Casablanca. The movie is stronger when presenting the political situation than the romantic one.

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

If ever there was a production that embodies all the negative Masterpiece Theater qualities, this is it.

Despite following its stage inspiration and bringing structure to Fellini's "8 1/2" (the ultimate source material), Nine still suffers at times from a lack of narrative drive and it doesn't have the surreal, dreamlike quality of "8 1/2" to fall back upon.

The problem with this movie is that Wallace has attempted to squeeze a 500-page book into a 130-minute motion picture, something that can't be done without major sacrifices.

Tone is critical to a movie of this nature, and Fleischer gets it right.

The Venom sequel checks all the generic comic book movie boxes and, if all one expects from a film adaptation is a straightforward translation with motion and live actors, it’s hard to knock Let There Be Carnage. But, in an era when most superhero productions are becoming increasingly complex, challenging one another for greater depth and storyline intricacy, the shallowness of both Venom movies stands out in an unflattering fashion.

There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.

The bad news is that Silent House is 88 minutes long, and the final half hour represents a descent into an anticlimax that ends with a scene as dumb as it is disappointing.

If movies were rated solely on the basis of style, The Quick and the Dead would score highly indeed. With its dazzling photography, inventive camera angles, and throbbing bass score, the film is an experience for the eyes and ears. Director Sam Raimi and cinematographer Dante Spinotti have woven a beautifully elaborate tapestry: colorful and evocative -- and depressingly two-dimensional.