This remake replaces suspense with boredom and witty dialogue with lame lines any self-respecting actor should be embarrassed to utter.

A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.

There’s no rule that main characters have to be likable, and DeHaan’s Lockhart isn’t, but they at least have to be interesting. He fails that litmus test.

An emotionally rewarding experience: strong performances from leads Henry Hooper and Mia Wasikowska and a tender love story conveyed with genuine feeling.

Unfortunately, as with too many films being made with the international market in mind, Jack Reacher: Never Go Back is a jumble of overhyped action scenes, trite dialogue, painfully bad “character development”, and awful writing.

The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.

Swing Vote marries mild satire with Capra-esque melodrama in a formula that works surprisingly well.

The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.

Lisa Frankenstein obviously wants to be different and it at least succeeds in that aim. However, as a story of female empowerment with grand guignol overtones, it has the great misfortune of coming out in too-close proximity to the vastly superior Poor Things.

Although Halloween Ends is a better-than-serviceable slasher film, its old-school approach to horror might feel dated in comparison to the flow of new, more intricately plotted films in Hollywood’s post-pandemic pipeline.

This may be the worst major animated film Disney has released in the past 40 years and its lack of creative energy doesn’t augur well for the immediate future.

A feature film adaptation of King’s best novel is deserving of something more epic than this throw-away production.

It's compelling in the way many B-movies are - cheap, sleazy, and lacking the depth we have come to associate with this director.

I walked out of the original Shall We Dance? with a silly grin on my face. I left this one shaking my head, wondering where it had all gone wrong.

This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.

Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.

For me, The Hitman’s Bodyguard is the epitome of what a summer movie should be. There’s sufficient spectacle to satisfy the “wow!” factor, some hammy performances by actors in their wheelhouses, a half-dozen solid laughs, and a script that, if not likely to be called “clever” or “smart”, doesn’t demand a frontal lobotomy to be enjoyed.

There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.

Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.

The Day After Tomorrow is filled with bad dialogue, stock peril situations, and sketchy character development, but it's a big enough spectacle that those things don't completely derail the film's capacity to be enjoyed.

A passable motion picture that features several memorable scenes. It's not a masterpiece, but neither is it a waste of time.

Director Brett Ratner has always been associated with spectacle but, even for him, this represents a misstep because the "wow!" factor is muted.

Cursed with two of the least interesting bad guys in recent memory. While McGivens and Armand are unquestionably villainous, there's nothing about them to cause audiences to hiss. They're boring.

Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the genre classic, but this has a closer kinship to Rin Tin Tin. Although its sensibilities are old-fashioned, the movie offers a modern look and feel.

This isn’t a hard-edged or particularly nasty film. Its political satire is even-keeled, attacking the system as an entity rather than either party in particular.

There's not a surprising moment in the movie yet it works in spite of the stale, insipid storyline. That has a lot to do with lead actress Katherine Heigl and a little to do with the glowing embers between her and her co-star, James Marsden.

It’s not a complete package but it’s fresher than much of what’s out there today and is difficult to dismiss even if it sometimes feels like a graphic novel married to a video game.

Take away Kristen Wiig, and Masterminds offers nothing. She is by far the best thing about the movie and easily outshines her SNL compatriots Kate McKinnon, Leslie Jones, and Jason Sudeikis.