An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.

The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.

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.

The root problem with The Wolfman is that it's a hybrid.

The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.

The story is unfocused and the character development is virtually nonexistent.

It is disappointing (and a little boring). The chief problem relates to structure. The film unspools more like a puzzle than a cohesive narrative.

Those who have seen Richard Lester's '70s tongue-in-cheek version of the adventure should avoid this one, lest they feel compelled to hurl popcorn and invectives at the screen.

As a follow-up/homage, Chapter 1 isn’t bad but it feels superfluous, adding little substantive to what was previously provided by The Strangers and the second film in the series, 2018’s The Strangers: Prey at Night.

Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.

With each new outing, the Final Destination movies are getting better.

Where the Crawdads Sing is not without flaws but it draws the viewer into its specific time and place and offers an engaging two-hour escape into the life of a memorable individual.

"Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.

This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.

Newell has followed up a respectable adaptation of a Harry Potter novel with an ignominious translation of something more delicate and literate. It's hard to recommend this movie to anyone except perhaps the MST3K crew.

Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.

Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.

This movie is a vast improvement over the tired and uninspired "American Pie 2," although it fails to make it to the lofty perch occupied by the first film.

Rarely does The Man with the Golden Gun take anything seriously. Mary Goodnight is as clumsy as they come. Pepper and Nick Nack are cartoonish. There are more jokes-per-minute than in any other Bond film. Even John Barry's score is less earnest than usual, and the opening song is ridiculous.

The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.

A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.

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 it’s being marketed as a love story, The Aftermath is more about grief and recovery than romance. In fact, the film’s illicit relationship is a cold, passionless affair that generates as much heat as a dying ember in a snowstorm.

Kogonada's direction crafts a variety of visually arresting—though not ostentatious—set pieces. Yet somehow, it doesn’t all come together. The whimsical magic evident early on grows stale. The movie’s tone is herky-jerky and never settles. And the ending feels undercooked and unearned.

Once you leave Wonderland, you may feel like you need a shower, but, while you're in the moment, it's a compelling journey into the depths of hell on earth.

This movie is about mayhem on wheels, tough guys viewers can root for, and villains whose comeuppances audiences crave. That's what Death Race is all about and, for what it is, it does a solid job.

The action sequences are energetic and suspenseful but they don't always mesh well with the dramatic material.

A perfect example of how solid directing and good acting can almost redeem a derivative story.