The cynic in me believes this movie may have been constructed primarily for end-of-the-year plaudits because there doesn’t seem to be another compelling reason for it to exist.

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

As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.

In trying to blend a Twilight Zone-ish mystery with a more conventional approach to sorrow and death, Miele crafts a story that is too artificial to work.

Cursed with two of the least interesting bad guys in recent memory. While McGivens and Armand are unquestionably villainous, there's nothing about them to cause audiences to hiss. They're boring.

Peppermint isn’t preaching a message; it’s intended as escapist fun. The problem is, there’s nothing “fun” about sitting through this 100-minute exercise in robotic butchery.

Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.

Formulated on an idiotic idea and develops a predictably lackluster motion picture from it.

The 2018 Death Wish has been developed with a specific audience in mind – those who enjoy these kinds of thoughtlessly violent outings. The direction is workmanlike, although without the flourishes that have added some visual razzle-dazzle to similar orgies of brutality like "John Wick" and its sequel.

"Labor" isn't just a word in the title of Jason Reitman's new film, it's a description of what it feels like to sit through the movie.

Failure to Launch fails at more than just launching. It fails at romance and comedy.

While the story doesn't score points for originality, the themes addressed are important and immediate, and ultimately it's a failure in execution that keeps this film from joining the ranks of a number of recent, memorable pictures chronicling life on the streets and in the ghettos.

Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.

The film's comedy is lackluster, with supporting actors Nathan Lane and Sean Hayes (as Tad's manager and agent) providing a few mildly amusing moments that would be at home in a sit-com.

Viewed from the straightforward perspective of a narrative-based motion picture, writer/director Nathalie Biancheri’s sophomore feature never gains traction. There are some interesting ideas but it becomes increasingly difficult to relate to the characters or the situation the more obviously divorced from reality things become.

Unfortunately, although Blair Witch owes much to the spirit of "The Blair Witch Project," it’s an inferior production. This is as much a result of stylistic and narrative choices as it is a reflection of how the horror landscape has changed in the last 17 years.

The visuals of a blasted city are impressive but hardly reason to spend $10 to sit in a theater seat and watch a bunch of underdeveloped characters get chased by zombies for an inordinate amount of time.

This movie desperately wants to be liked. The problem is, there's not much here to like -- at least nothing that's new or interesting.

Although A New Legacy runs at least a half hour too long and generates zero tension with the central “basketball” game, it’s not without its share of small pleasures.

Is it A Bigger Splash or A Bigger Bore? Despite a strong cast, gorgeous cinematography, and a suffocating sense of sexual tension, this movie takes far too long to get off the ground.

The absence of originality and inspiration isn't Mad City's only problem -- it also suffers from a shocking lack of subtlety.

Once the setup is over, however, Indecent Proposal starts to fall apart, with the implausibilities and contrivances getting worse with every passing minute.

As a motion picture (in the traditional sense of the term), Five Nights at Freddy’s is disjointed and ultimately unsatisfying but as part of a larger cog in a cross-platform franchise, it does everything (and more) that is expected from it.

Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation.

If you're desperate to give something up for Lent, make it movies like this one.

It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.

Words cannot express how weary I am of watching lifeless, hollow movies like My Life in Ruins - generic romantic comedies that have no clue when it comes to either "romance" or "comedy."

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.