My reaction is that I could learn a lot more about Winehouse by listening to her music than by watching this by-the-numbers sketch of her adult life.

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.

Those who have an inherent distaste for this sort of entertainment will appreciate Conan the Barbarian's impeccable production values without enjoying the story; most everyone else will be swept away by the film's spectacle.

Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.

Dark Phoenix is closer to the comic book story than the previous iteration, retaining many of the core elements. Unfortunately, it suffers from a massive condensation that not only mutes the film’s emotional impact but creates an erratic tone.

Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.

The movie, however, seems to make the wrong decision at almost every opportunity, trying for the kind of melodramatic tragedy that only works in opera.

The end result is a meandering story featuring shallow, unconvincing characters attempting to illustrate the evils of technology in its undermining of individual liberties. The Circle offers a lot of good bullet arguments but this is a movie not a Powerpoint presentation.

Glass, the third film in what has become a trilogy, comes across as a mix of half-formed ideas baked into an uneven casserole. Overlong, talky, filled with meta references, and with a strangely low-energy tone, the movie never fully gels.

Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.

The worst action movie of the summer. I liked Bad Boys II a little less, but making the comparison is like distinguishing between a cow turd and a horse turd. And that pretty much sums it up nicely.

There's nothing worse than a film which mistakenly believes it's the comic event of the year. For no legitimate reason whatsoever, When Nature Calls is full of itself to the point of being offensive.

Zero-star movies are a rare and terrifying breed - films that warrant recommendation only as an alternative to physical distress.

The acting in Beach House is uniformly strong and that’s one reason why the film works despite various narrative shortcomings.

There are some jokes no one under 10 will get (a few of which are pretty funny) to go along with the visual diarrhea that clutters the screen with needless “action” sequences. The resolution to the emotional component of the climax feels like an unearned cheat, but I suppose it’s okay when one considers it will probably work for children.

The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.

The greatest flaw in My Father the Hero isn't the feeble laugh-to-running length ratio, the limp characterization, or the mediocre acting. Instead, it's the feeling of unease that pervades the first forty-five minutes as Nicole and Andre clash while the film tries unsuccessfully to make light of their dysfunctional relationship. There are serious issues bubbling away here that the movie doesn't know how to address properly. Lighthearted motion pictures should never cause discomfort, but this one does.

The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.

There's some entertainment value, but the production as a whole is unfocused.

Stuber is as bland and generic a mismatched buddy action-comedy as you’re likely to find.

Insurgent is more clumsy than bad, but it disappoints because it wastes the world-building of Divergent, which set the stage for something more momentous than what the sequel delivers.

Director Lucky McKee and screenwriters Jared Butler and Lars Norberg take a standard premise and tweak it sufficiently to make it interesting and, at times, even darkly humorous.

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.

Robinson's movie flip-flops back and forth between being inept and goofy.

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

This is cheap-looking, ugly filmmaking. It goes without saying that the story is nonsensical. The characters have the depth of crepe paper. But perhaps what’s most surprising is that the endless CGI hasn’t gotten a noticeable upgrade since 2017’s Transformers: The Last Knight. Modern video games look better.

It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.

Robert the Bruce is too long by at least a half-hour for the surprisingly slight tale it has to tell.