For those whose only requirements for horror movies are that they avoid the excesses of blood/gore/violence prevalent in R-rated fare and incorporate a few good jump-scares, Night Swim checks the requisite boxes. For those looking for a more complete experience, however, the movie struggles even to achieve the level where it would be considered worthwhile as a streaming option.

There's not a moment of originality in the entire motion picture.

You may end up being pleasantly surprised, especially if you have a ten-year old girl in tow.

There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.

The visuals of a blasted city are impressive but hardly reason to spend $10 to sit in a theater seat and watch a bunch of underdeveloped characters get chased by zombies for an inordinate amount of time.

There's little here that's new or interesting; the movie is for hard-core Romero devotees only.

Isn't loaded with promise, but at least the producers had the good sense to hire Bill Murray. Jack is the kind of irritable, self- absorbed guy that Murray can play perfectly, and the comedian's presence in Larger than Life lifts it to a considerably higher level than it might have otherwise attained.

Won’t win any awards for acting or writing but generates suspense when it needs to and tells an engrossing Tall Tale.

On the whole, Star Trek V is a highly forgettable motion picture, regardless of whether you're looking at it from the perspective of a Trek lover or a movie-goer.

It's an orgy for disaster porn devotees.

The Last American Virgin tries to inject some honesty and emotional depth into an otherwise silly and raunchy storyline. Its success is mixed but that element at least makes it more interesting to watch than at least 75% of its contemporaries.

Overwrought and disjointed, Ewan McGregor’s directorial debut is surprisingly faithful to aspects of the text but the overall presentation is conventional and disappointing.

Because so little of it works, the film is disposable.

Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.

A lackluster melodrama with only a few inspired moments.

For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.

Travesty.

The only reason any male could have for seeing The Vow is the hope of getting laid afterwards. The only reason any female could have for seeing The Vow is if she views the plots of Harlequin romance novels as the height of modern storytelling.

For nearly two hours, the movie plods along, offering little beyond hackneyed dialogue that can’t be gleaned from a quick read-through of Marley’s Wikipedia entry.

The movie never loses sight of its twin objectives: maintain suspense and emphasize a message about the enduring, pernicious power of racism.

Calling The Angry Birds Movie an “animated film” is giving it airs. It’s a cartoon. Deal with it.

Aside from the lip service paid to the pros and cons of releasing free hydrogen onto the world market, Chain Reaction doesn't contain anything that we haven't already seen this summer. The explosive destruction that wipes out a portion of Chicago looks like it could have been excised from Independence Day. The action sequences recall Mission Impossible, Eraser, and The Rock, albeit with less energy. The concept of government agents being bad guys has been used so often that it has long since turned into a tired cliche. Chain Reaction isn't dull -- the film is paced to keep audiences attentive -- but the lack of originality dampens its enjoyability. As a result, box office reaction will almost certainly be more like a spark than an explosion.

Distilled to its essence, The Girl in the Spider’s Web is a generic espionage/crime thriller. Although briskly paced, the plot is far from airtight and demands a deus ex machina to reach its climax.

Watching this movie, I wished I knew how to use dental floss, a paper clip, and a crumpled movie ticket to break the projector.

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.

Anything Else may not be the second coming of "Annie Hall," but it has more wit and substance than almost every post-college romance that sees the inside of a projection booth.

Great premise, terrible execution.

All I See Is You ultimately fails to deliver much beyond a gradual descent into disinterest and watch-checking.