It’s an attempt to wed philosophical science fiction concepts with bloody horror - a dubious endeavor that somehow works. The movie doesn’t seek to be a mindless gore-fest but neither does it show restraint when it comes to violence.

Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

It’s not a bad movie but it is too long and lifeless for what amounts to a two-hour commercial for a three-minute ride. Even the wait time to get into one of the moving chairs doesn’t take as long as watching the film.

The obligatory concluding remark for a horror movie about the undead applies here: the best approach is to leave it buried.

Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.

Regardless of whether you're a fan of the 1950s series or not, it's doubtful you'll get more than a few halfhearted chuckles out of this lifeless retread.

Devoid of life, intelligence, humor, and anything else that could entertain even the most undemanding viewer, this film is a perfect example of something that should have been shipped to landfills, not multiplexes.

All-in-all, however, even though Chaplin is fitfully entertaining, it fails to touch enough emotional chords to make it of more than passing interest.

If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.

It’s a 99-minute commercial designed to drive sales of merchandise. Okay, it’s not as bad as "Super Mario Brothers," but that’s damning with faint praise.

And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.

There’s nothing in this third Fantastic Beasts installment that will grow the audience. In fact, the plodding pacing offers little to excite anyone outside the dwindling core fandom.

Gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.

Despite its flaws, The Box remains intriguing; however, as its mysteries are solved, the prevailing sense is one of frustration rather than satisfaction. That makes The Box worthy of the dubious label of "an interesting failure."

The film has its charms but the end result feels like warmed-over James Bond… and not even especially good 007, at that.

Whatever small pleasures it may offer are wiped out by the frustrating sense of incompleteness that accompanies the arrival of the end credits.

Failure to Launch fails at more than just launching. It fails at romance and comedy.

Builds up enough good will during its successful first half that we're willing to forgive some of the strange and disappointing convolutions the plot takes us through during the final 45 minutes.

The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.

While "Love, Actually" succeeded in providing well-developed characters in (mostly) interesting situations, He's Just Not That Into You is often flat with subplots that feel rushed and/or contrived.

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.

Enjoyable for a movie in which pretty much nothing happens.

The biggest problem with In the Heart of the Sea is its episodic nature. Especially during the post-sinking saga, things don’t flow smoothly.

Jennifer's Body mixes, matches, and crosses three popular genres: horror, comedy, and teen angst. Unfortunately, it fails at all of them - and "fails" might be too kind a term.

Although it might seem odd to call a disaster film “low-key,” the label applies in this case. That shouldn’t be interpreted as a criticism. There are times when a less-is-more approach results in gripping entertainment and The Tunnel is one such example.

The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.

One of those movies in which the principals talk a lot but don't say much.