The biggest flaw of the 1990 Total Recall was how disappointingly banal the endgame was. Wiseman adds some special effects and Michael Bay-style pyrotechnics, but the result is similar. It's doubly deflating because one of the great advantages of remaking a movie is being given the opportunity to correct problems - something not attempted here.

Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.

The movie is replete with bloody encounters, sly asides, and one-liners, but the tone is awkward and uneven. There are also some serious structural problems that we're supposed to brush aside.

The most intriguing aspects of Extraordinary Measures relate to the behind-the-scenes politicking that goes on to keep the drug development on track, although the screenplay cheats toward the end (presumably because of time constraints and a concern that too much detail might bore audiences).

A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.

Hitman: Agent 47 might offer a passable diversion for action junkies but, for everyone else, it's best avoided.

Folie a Deux functions as an overlong, pretentious coda – a slog that barely advances the narrative while regurgitating elements from the first film.

Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.

Although the movie has the capacity to engage and entertain young children, its bland storyline and cut-rate animation won’t impress many adults. This is a classic case of an animated film being targeted exclusively at younger viewers without much consideration about keeping parents from falling asleep.

The plot is straightforward and predictable to the point of painfulness.

The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.

We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.

Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.

In the end, you have to possess a sweet spot for Black and his antics to find Tenacious D more than barely watchable.

Putting aside any long-term implications, The Multiverse of Madness is a frustrating mix of eclectic elements that at times feel more like Raimi referencing his Evil Dead movies than his previous superhero work. It’s undeniably fascinating and at times exhilarating but my overall feeling is one of vague disappointment.

There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.

Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.

Put The Angry Birds Movie 2 into the basket of sequels that no one was asking for.

He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.

With a generic cast, Don’t Look Up would have been a disappointment. With this star-studded cast, the classification of a “missed opportunity” doesn’t do it justice; it feels closer to a tragedy.

So, for Bad Boys for Life, we avoid a trip into the lowest depths of hell in favor of a dead end.

The "now" scenes feel much like an excuse for four high-profile actresses to lend their names to this film. At best, their presence is superfluous. Yet even had the film remained entirely in the "then" time frame, it still would have been lacking. There's just not enough originality here, no matter what year it is.

Mediocre and recommended only to those who can claim a familiarity with the play.

There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.

As a cavalcade of highlight clips, it’s hard to imagine something more attention-catching. But as a movie… What works as a sizzle reel totaling three minutes shows its inherent shallowness when expanded to nearly two hours.

The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.

This film never believably captures the sport it portrays, and that leads to a picture that's closer to a strikeout than a home run.

Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."