There's probably enough content here to warrant a three-hour movie but Good People is only 90 minutes long.

One expects a movie called Abraham Lincoln: Vampire Hunter to be rich in wit and black humor, but writer Seth Grahame-Smith and director Timur Bekmambetov opt to play things reasonably straight.

Orphan is being marketed as a horror movie, but that's misdirection. It's more of a standard thriller in the "evil amongst us" mode, about a group of people who inadvertently admit a psychopath into their midst.

The wheels fall off toward the end but, until that point, Illiadis does an excellent job of generating and maintaining an intense sense of dread.

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.

Fire in the Sky is grim. I'm not sure why director Robert Lieberman chose to fashion his movie like this, but the result is distinctly unpleasant -- dark, gloomy settings with harshly disagreeable characters and no sign of anything remotely resembling comic relief.

This isn't a bad movie; it's watchable but the direction in which the filmmakers choose to take it results in a vague sense of dissatisfaction.

The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction.

At least the set design and costumes are excellent. The movie feels overstuffed and undercooked but it always looks nice.

Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.

One of those plot-by-numbers sit-com movies that tries hard (perhaps too hard) to reproduce the elements that made the earlier film successful.

The plot is so thin that it's not really worth thinking about, but director Antoine Fuqua and cinematographer Peter Lyons Collister have put so much effort into the feel and appearance of the movie that it held my attention.

Halloween Kills is one of the better sequels (put it alongside Halloween 4 and H20 and a shade below the 2018 production) and contains all the elements to make it popular among horror film lovers regardless of their ages.

The Loss of Sexual Innocence is not a masterpiece (at times, its obtuseness can seem ponderous and pretentious), it is nevertheless a fascinating experience, with the focus being on the artistic elements inherent in the medium rather than on the narrative.

Wow. Just wow. Every year, movie theaters bring us their share of surprises – both good and bad. Suburbicon goes immediately to the front of the line of contenders for the most disappointing film of 2017.

With Legend of the Sword, the filmmaker isn’t remaking or adapting anything. This is his version of Arthur’s origin story and, if nothing else, it’s kinetic and attention-grabbing.

The first half-hour (or so) of Clue is enjoyably witty but, after that, it’s a downhill mudslide.

Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.

Larry Crowne should not be mistaken for a masterpiece. It is summer entertainment: genial, undemanding, lightweight.

Memory plays like a blended cop movie/revenge thriller and exhibits the strengths and weaknesses of both. At its best, it recalls the Mel Gibson movie Payback (which was similarly a remake of an earlier film based on book).

John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.

Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.

Black Adam embraces many of the worst elements and tropes of the superhero genre, resulting in a loud, discordant experience replete with fist-fights, pyrotechnics, and an overdose of CGI.

First-time director Jonathan Watson crafts a film that’s neither funny nor exciting, although it often seems to be straining to be one or the other. It’s a tonal mess and its inconsistencies make it a frustrating viewing experience.

Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.

I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. There. That just about sums it up.

Fountain of Youth is a perfect example of something that can play in the background but proves singularly unable to hold anyone’s attention for the entirety of its running length.

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.