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

I usually give writer/director Tony Gilroy the benefit of the doubt because he has scripted some of my favorite films but Roman J. Israel, Esq. is a few steps too far in the wrong direction.

Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.

There’s nothing in Paint to excite fans of the late painter and even less for those who don’t know anything about him.

Kandahar is one of those movies that exists without having a compelling reason for doing do. As a war movie, it’s not especially insightful or gut-wrenching. As an action film, it lacks energy, momentum, and consistency. As a drama, it feels artificial and manipulative.

Quickly causes viewers to lose patience, then interest.

The problem with the film is that it's frequently more tedious than funny.

Transforming Persuasion into something generic and pitching it to viewers seduced by the likes of Bridgerton and Mr. Malcolm’s List illustrates not only a lack of imagination but a betrayal of the source material.

The clumsy and obvious byproduct of the financial success of its predecessor last Halloween, this movie has no reason for existing except to provide Paramount Pictures with a few extra shekels.

Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.

This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.

Four Christmases is waste of time and a disappointment, but it's also relatively painless.

It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.

The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.

The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.

The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.

Mechanical and artificial, and tells you what to think.

Those who love Robert Rodriguez's over-the-top Grindhouse-flavored spoofs will delight in this one but, ultimately, this is probably one Machete too many.

Dominion argues that not even the return of three beloved characters can rescue a franchise that has fallen and can’t get up.

Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.

For a movie about magic, that’s one element sorely lacking in this retread.

It gets props for kinetic energy, bursts of suspense, and a couple of bravura performances (Will Smith & Margot Robbie). But pretty much everything else is either mediocre or substandard and that makes it hard to champion this bloated and cheerless monstrosity.

A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.

Looking back at Psycho Killer as a whole, the missteps in the final 20–30 minutes easily overwhelm some of the earlier, better material. It's tough to recommend this even as a streaming time-waster.

Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.

Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.

Taken 2 is more of the same, except a little bigger, a little dumber, and a little less invigorating.

The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.