Although the production is sporadically amusing, it feels like a 20-minute short that was expanded to feature length to its considerable detriment.

With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.

The movie's central flaw: it's not funny enough to be worth the price of admission.

The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.

Affleck is at his best playing wisecracking supporting roles (like in the recent Air, which Affleck also directed) and at his worst as an action hero. He sleepwalks his way through Hypnotic, doing little to rouse the audience from its own slumber while failing to generate any sparks with his co-star, Alice Braga.

Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.

Iron Will's presentation of family values and reliance upon formulas are distinctive. The film has enough action to keep it from becoming boring, but there are too many flaws for this to be considered anything more grand than adequate entertainment.

The only time Sparkle evidences energy is during the song performances, of which there are too few. The half-baked melodrama provides an unappealing and overlong buffer between them that fails to justify the nearly two-hour running time.

Various subplots are given short shrift and the whole thing feels more like a Cliff's Notes version of a longer piece than an actual finished motion picture.

Coscarelli's screenplay introduces an abundance of intriguing concepts but never goes very far with any of them. The characters are paper thin and the special effects are laughably bad.

On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.

A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.

Although Sinister 2 continues the story begun in Scott Derrickson's creepily effective "Sinister," it feels more like an unnecessary retread than an organic extension of the original.

Although the second installment is effective at moving the story forward rather than re-treading familiar ground, it enters a patch of quicksand from which it is unprepared to escape. Disney is adept at doing many things but offering a sobering and intelligent examination of genocide is not among them.

Sean Connery is perfect for the King Arthur role. Too bad he isn't given more to do than stand around looking regal.

Insurgent is more clumsy than bad, but it disappoints because it wastes the world-building of Divergent, which set the stage for something more momentous than what the sequel delivers.

This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.

Inept storytelling is one of Lords of Dogtown's great frustrations.

This sloppy mess also pales in comparison to the better-paced, taut "Olympus Has Fallen," which represents 2013's better White House invasion story.

There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.

The film has energy but isn't well paced. Nothing about it quite gels.

Laws of Attraction is a standard-issue romantic comedy that's missing a key ingredient: the attraction.

The Emoji Movie proves unable to provide even a modicum of content capable of capturing or retaining the attention of an adult. Nap time.

I suppose it’s possible to argue that The Darkest Minds can be enjoyed for what it is. Unfortunately, that “what” refers to something incomplete.

Eternals, despite trying to be a departure from the superhero generic norm, misses wide of the mark and ends up being a major lapse.

Lack of focus is ultimately the undoing of sophomore feature director Yann Demange – despite crafting several compelling stand-alone sequences, he is unable to stitch everything together into a compelling whole.

At least What Women Want could be identified as an enjoyable rom-com with a dose of female empowerment. One would have to be charitable to use “romantic”, “comedy”, or “enjoyable” for this new iteration.

Domino is a lackluster, hard-to-swallow police procedural with soap opera-ish subplots and flat characters.