It's openly silly and, by almost every traditional critical standard, it falls a little short of the mark. Nevertheless, I enjoyed Bride of Chucky enough to place it on my ever-growing list of "guilty pleasures," and I recommend it to those who enjoy horror films (although probably not to anyone else). The movie laughs at itself, and I laughed along with it.

Divergent is less action-oriented than "The Hunger Games" but no less compelling.

In style, if not substance, The Greatest Showman is reminiscent of the Disney film, "Newsies." Like the 1992 live-action musical, The Greatest Showman comes to life when the characters are singing or dancing but struggles through the sequences in between.

It has the sensibilities of a late-'80s/early-'90s forgettable big-screen sit com and probably won't find many interested viewers who aren't card-carrying AARP members.

trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."

Fuqua takes a genre picture and, by diverting the story onto an unconventional path, generates a sense of urgency. Tears of the Sun is not a great movie, but it is satisfying, and represents an example of accomplished filmmaking.

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.

Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.

It's not so much a bad film as it is a disappointing one. A very disappointing one.

Good entertainment stretched to three times its natural length is rarely three times better, but bad entertainment dragged out that long will typically be three times worse. In the case of Demon Knight -- which probably doesn't have ten minutes of worthwhile material -- such a statement could be regarded as infinitely kind.

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 movie may attract some attention from horror/thriller fans eager for a post-Halloween fix but this is no better than a direct-to-video production masquerading as a theatrical release.

Tomb Raider may be the most faithful adaptation of a video game to-date. Unfortunately, faithfulness to the source material doesn’t always result in the best cinematic experience and this is one of those occasions.

Solo Mio is pretty much what one could reasonably expect from a Kevin James romantic movie: genial, good-natured, and ultimately pretty bland.

Bogged down by many of the problems that have plagued Disney's recent traditional animated features: anonymous voice work, poor plot structure, and the mistaken belief that the Disney brand will elevate anything to a "must see" level for viewers starved for family friendly fare. If there's a bright side to Chicken Little, it's that kids will love it.

Although Child’s Play is only 90 minutes long, it’s one of those movies where you check your watch so often you think it has stopped.

21 doesn't spin a good enough yarn.

There’s enough here to keep the film from being a car wreck but it’s hardly an example of championship caliber filmmaking.

Entirely inoffensive, so it makes for perfect family fare -– but only if the children are young enough to be indiscriminating about what they're seeing.

So howlingly awful that it has unwittingly found a place in that elite group of films that can claim to be "so bad they're good."

Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.

It's great fun, but certainly not great art.

The lack of a creative driver behind the film leads to a level of fundamental dissatisfaction. The movie delivers all the necessary elements but their impact is dull.

Lockout is painful. Not painful in the way Uwe Boll or "Sex and the City" movies are painful. But painful enough that I kept waiting for Nicolas Cage to show up. Or Katherine Heigl. Or, god forbid, both.

Bullet to the Head is bloody and violent but not nearly as much fun as it should be.

Despite its tendency to tread well-traveled roads, Just Cause is filmed with enough energy and craft that, for the majority of its one-hundred minute running time, it's reasonably entertaining.

As a B-movie whodunnit designed for fast consumption by popcorn munching crowds of inattentive viewers, it’s solidly entertaining. But as a complex, Hitchcockian (as in the obvious inspiration, Rear Window) thriller, it misses by a wide margin.

The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.