It’s rich material, but despite having one of the greatest actors of his generation at his disposal, Ronan manages to fumble it—delivering a film that functions more as a sleep aid than a drama.

At least Jessica Alba's legion of fans will have something to smile about. If nothing else, Helfrich has shown her in the best light. If only there was something worth seeing here other than her.

The most disappointing aspect of The Iron Lady is that some of the most memorable hallmarks of Thatcher's time in power are glossed over.

The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.

There's not a moment of originality in the entire motion picture.

For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.

My advice is to wait and see this version of The Beverly Hillbillies the same way that you've seen all that's gone before -- on the small screen. And let's hope that when the closing song chimes in with the familiar "Y'all come back now, hear?", it's not a reference to a sequel.

To go with the good, there's plenty of bad, and it comes in the form of countless gags that misfire, far too much flatulence and urine, and (God help us) a buck naked Leslie Nielsen. Admittedly, that scene certainly puts the "scary" in Scary Movie 4.

70 minutes into the 90-minute process, I was engaged. Then it all collapsed.

It's harmless. And pointless. And dumb. This is a perfect example of a motion picture that exists exclusively because its predecessor made a lot of money.

The problem isn’t the non-fiction book by Diane Ackerman around which the narrative has been constructed, but a series of “added” scenes and subplots that seem lifted from a bad B movie and have the unintended consequence of devaluing the story as a whole.

The last scene is unforgivably cheesy in a non-self-aware fashion. And don’t get me started on the dog…

This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.

Cliffhanger elements aside, I have no desire to revisit this world again. It’s played out. There’s only so far you can go with dinosaur movie and this series has gotten to that point…and beyond. Fallen Kingdom isn’t dino-myte. It’s dino doo-doo.

After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.

See Mr. Jones at your own risk. Those who enjoy excruciatingly manipulative melodrama will probably come out of this movie spouting words of praise. Those who don't find fulfillment in that sort of "experience" would do better looking someplace where the first name of the title character is revealed.

With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.

An inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength.

Cage’s performance provides the glue for an uneven film.

The result makes the movie seem assembled from bits and pieces of other superhero yarns rather than existing on a plane of its own.

Death of a President is celluloid mediocrity. It's neither interesting nor convincing.

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.

If there’s a compelling reason to remake The Magnificent Seven, it can’t be found in the 2016 version, a loud, cluttered, and generally disappointing production.

If Scream is intended to re-start the franchise, things are off to a rocky start. This is what happens when Hollywood refuses to give up on a series that has run its course.

Getaway is pretty much a 90-minute car chase. That's it.

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.

In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.

Old is as wrinkled and decrepit as the title makes it sound.