Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.

A comedy without a single funny joke, Mafia Mamma will likely go down as one of the year’s worst theatrical releases.

The movie is rarely funny with much of the comedy being too broad, too predictable, or both.

The first Aquaman may have been low-brow fun but the second is a chore from start to finish.

The Ice Road may be the worst direct-to-Netflix movie to feature a major star. It may also offer the worst entry into Liam Neeson’s catalog of strong, resilient action heroes.

Despite its flaws, Total Eclipse is the kind of movie that stirs thoughts and ruminations about the nature of genius, the true meaning of art, and the unfailing capacity of great people to destroy themselves and others. Holland has not matched the success of two of her previous films -- Europa Europa and Olivier Olivier -- but this picture is still a respectable examination of a fascinating historical relationship.

The "Da Vinci Code" was adequate but forgettable. "Angels & Demons" was godawful. Inferno is somewhere in between - watchable but by no means worth the money and effort necessary to see it theatrically.

Captain America: Brave New World, the fourth title to co-opt the “Captain America” name and the first to star Anthony Mackie in the role, is another example of how badly unmoored the MCU has become in an era of unfamiliar heroes and stalled storylines.

Put simply, this movie is dumb.

The result is a poorly-focused motion picture characterized by limp satire and capped off by a final fifteen minutes that could send half of the audience into sugar shock.

A movie that is relentlessly inoffensive and completely unoriginal –- two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.

This is yet another chapter in “When Smart Movies Turn Dumb.”

Stargate is peppered with numerous minor faults, some of which - although not all - are easily forgiven. It's the bigger plot problems and lackluster climax which are more difficult to excuse.

The action scenes are crisply directed, brutal, and invigorating.

It is a recognized truth of the movie industry that even the best film makers will have disappointments, and, for Woody Allen, Celebrity fits into that category.

If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.

The essential problem with the movie isn't that it's loud, violent, and gory, but that, before Carpenter ratchets up the tension in the final 35 minutes, it's not especially interesting.

I have never been a fan of the original Carrie, but, despite the different slant offered by The Rage, there's not enough new material here for me to like the sequel any better.

A shift in tone to something like "Kingsman" might have made this a more entertaining experience.

Armageddon is a testosterone and adrenaline cocktail, with almost no intelligence added for flavoring.

12 year old boys will love the result. That’s not a good sign for anyone who has passed beyond their teenage years.

Although For Love or Money is a marginal film by any standards, it isn't unwatchable, and it does fit nicely into the "date movie" niche. I can't honestly recommend the movie, but it isn't completely without redeeming qualities.

The movie's sincerity helps it get over some of the most difficult hurdles and the feeling after leaving theater is one of having experienced something worthwhile albeit unremarkable.

This isn't vintage De Niro but at least there's more substance here than in a lot of his other recent projects. Michelle Pfeiffer, who flirted with this sort of a role 25 years ago in "Married to the Mob," is enjoying something of a renaissance after working only sparingly for more than a decade.

Fred Claus is less enchanting than the 2003 fairy tale, "Elf" (which was directed by Vaughn's good buddy, Jon Favreau), but no worse than the inexplicably popular Tim Allen series.

It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.

An example of a vampire movie for the new century -- stylish, gothic, gory, and loud.

LaBeouf, who appeared to hit a low in "Indiana Jones and the Kingdom of the Crystal Skull," has sunk to greater levels of incompetence here.