The material isn't sufficiently funny to allow me to forgive the film's feeble storyline and two-dimensional inhabitants.

There are times when the Russos almost get us there but they can’t quite make it. As a result, Cherry comes across as ambitious but not entirely successful. The directors deserve credit for weaving together so many contemporary issues into a single, digestible story but there’s too much material here to do consistently well in a 2 ½-hour movie.

A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.

It's familiar enough to be comfortable but not so familiar that it feels worn and repetitive.

Dull, uninspired, and redundant.

As far as the actors are concerned, Liam Neeson seems to be having fun hamming it up as the villain - a role he rarely gets to play.

Unfortunately, because of a variety of missteps, Bushwick never achieves what it sets out to do. It’s undone by a litany of bad decisions and the underlying weakness of the core material.

As a shallow tale of conscienceless bloodshed and revenge, Last Man Standing is reasonably effective. But as an updated version of the far better-realized Yojimbo, it's an unqualified failure. Last Man Standing is a surface picture -- it looks good, sounds good, and moves quickly -- but there's no depth whatsoever.

We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.

Chaos Theory stumbles from one contrived circumstance to the next, and there's not a moment in this entire mess that conveys any sort of genuine human emotion or reaction.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

There’s fun to be had but it’s not consistent and at times it’s disappointing how certain scenes play out.

The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).

Unlike so many of the bloated, disappointing entries into the 2016 big budget sweepstakes, this is good escapist entertainment.

It is possible to make a movie in which nearly the entire running length is a car chase. An example of how to do this is "Duel." An example of how not to do it is Kidnap.

Like most unintended second installments, this one is superfluous – a remix of moments, scenes, and images from its predecessor infused with the need to make everything bigger and louder.

This movie is so atrocious I kept waiting for Nick Cage to show up.

When the end credits roll, it’s hard to decide whether the most appropriate feeling should be disgust, despair, or despondency. This is one of 2019’s worst films.

Hostage has suspense and momentum.

Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.

Any time Disney tries their hand at live action, though, the results are usually pretty poor. Just not this bad.

As either a 007-inspired spy film or a comic book adventure, The King’s Man feels stale.

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

Calling Delivery Man a "comedy" is a bit of a stretch, because it's rarely funny. Dumb, yes, but not in a way that's worthy of more than a half-hearted chuckle.

Grim but holds the attention; it does not, however, offer the kind of mindless action excursion that many will be anticipating.

Last Action Hero is sporadically entertaining, but it could have been a whole lot more. Trimmed down and better edited, this film might have been a top-notch satire. As it is, however, it gets caught someplace in between action and comedy, and never really comes across as a solid example of either.

Funny Games is not entertainment but it is an experience.