Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.

By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.

Friday the 13th is neither tense nor frightening (although, to be fair, it is at times creepy and atmospheric, due in part to budgetary limitations that led to a low-key style).

Working with time travel is never an easy task and, when a filmmaker doesn’t take a rigorous, consistent approach, it can become a mess. Such is the case with Don’t Let Go.

As high camp, Willard might have something going for it, but not as a horror movie.

Yes, A Late Quartet is disappointing. But it's also pretty bad.

Carlito's Way probably should have been a taut thriller, but choices by DePalma in both presentation and editing have hamstrung it.

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

Unevenly paced and with a miscast lead, the movie fails to get us to care about its automaton main character as she goes through the motions in a generic spy thriller.

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

Instead of vying for a so-bad-it’s-entertaining categorization, it falls squarely into the hell of cinematic mediocrity.

One of the cleverest moments in Sacha Baron Cohen's The Dictator comes during the first five seconds: a memorial dedication to Kim Jong Il. It's all downhill from there.

The Dark Tower isn’t a bad movie even though there’s a clumsiness to its narrative and a cheapness to its appearance.

Bloodshot suffers from a world-building failure. With too little time and emphasis placed on crafting the setting and exploring some of the rich possibilities of the milieu in which events transpire, the movie turns into little more than a ho-hum Vin Diesel action film.

One of the most positive comments that can be made about Hick is that it advances Chloe Grace Moretz's claim to be one of the best young actresses emerging into today's spotlight.

Cutthroat Island is a mindless diversion. If, for whatever reason, you decide to go, maintain low expectations. Hoping for more than a bunch of loud bangs and ridiculous dialogue will rob Cutthroat Island of its amusement value.

The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.

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.

Basically, this film is stale -- as unappetizing as week-old bread. With much better fare of this sort available on video (Airplane, The Naked Gun, etc.), renting a tape will be more satisfying, not to mention cost-effective. Loaded Weapon 1 is good for a few laughs, but there's no compelling reason to spend $5+ to see such a feeble feature-length comedy.

The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.

At its best, Nightbitch offers a deeply honest, emotionally unsettling portrait of the darker side of parenting. Unfortunately, those moments are counterbalanced by a metaphorical story element that devolves into an exercise in campiness so tonally at variance with the core story as to create a dissonance many viewers won’t be able to overcome.

Hocus Pocus is an occasionally dull, mostly pedantic motion picture with little to recommend it. It belongs on the long list of summer movies that will quickly be buried and forgotten until the surface on video in six months. For real fun at the expense of the dead, see instead Sam Raimi's Army of Darkness.

There's no compelling reason to see Deal. Everything it offers is familiar to the extent where even though it's not a remake, it feels like one.

Saved by energetic musical numbers.

Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.

Anyone approaching it today will find it horribly dated, badly produced, and filled with uninspired musical numbers and over-the-top performances. This is the kind of movie that turns off children of today's generation from titles made during the early talkie era.

The Pursuit of Happyness is long, dull, and depressing.

Pokemon: Detective Pikachu isn’t a movie. It’s a cog in a multibillion-dollar media empire, a soulless feature-length example of product placement at its most blatant.