If Superman was an eagle streaking across the sky, Supergirl is the result of that eagle’s bowel movement.

187 offers some thought-provoking ideas and several effective performances, but the script ultimately lets down both the actors and the audience members who are watching them.

The movie’s failings come during its final act when contrivances and an adherence to big budget conventions transform Passengers into a less compelling experience than what it starts out as.

There’s enough suspense to keep an itchy trigger finger from changing the channel but viewers hoping for more won’t find it here.

Unlike in many thrillers, the movie doesn't sandbag us with one last, cheap twist at the end. The Salton Sea contains its share of surprises, but none of them feels forced or artificial.

If you like kinetic movies about crime, criminals, and all sorts of bad behavior, Running Scared will catch and hold your attention.

For most of its running length, Sabotage is a gritty, compelling motion picture with twists to make a pretzel envious.

It's not so much a bad movie as it is a pointless one.

There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.

The PG-13 rating is an indication of how much the material has been neutered. And, although the lead character’s arc remains troubled and conflicted, the ending makes her seem more like a superhero than the material warrants.

Were it not for the participation of two A-list actors, Nicole Kidman and Colin Firth, Before I Go to Sleep would have been headed straight to video. The inclusion of those two doesn't make the film any better, just less anonymous.

There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.

Four Christmases is waste of time and a disappointment, but it's also relatively painless.

In the interval between the release of "Super Troopers" and its sequel, we have moved on. For better or worse, Broken Lizard hasn’t. As a result, some of what would have been side-splitting in 2001 barely provokes a chuckle in 2018.

In trying to do too much, Nowhere to Run succeeds at too little. Action fans will be disappointed by the amount of talk and the lack of fights. Drama lovers (few of whom will even bother with this movie in the first place) will have a hard time swallowing plot's artificiality. In the final analysis, despite not being a terminal bore, Nowhere to Run doesn't go anywhere worth following.

Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.

This is a competent, technically proficient rendering that may find favor with those who have never seen Romeo & Juliet on the big screen but it's little more than a curiosity for those with a long history of watching Shakespeare's works translated to the cinema.

The problem is that the writing is too weak for me to come close to recommending it.

Ultimately, however, owing to too many derivative elements and an erratic story that runs out of steam about halfway through, Metro is only partially-satisfying. I suppose any viewer's reaction will depend on whether they choose to see this particular glass as half-full or half-empty. Murphy fans and action junkies will probably find enough here to keep them involved and upbeat. Everyone else will likely see this material as disappointingly over-familiar. In the wasteland of early-1997 releases, you could do worse than Metro, but, by year's end, few people are likely to remember the title, let alone the premise.

This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.

Gangster Squad provides a welcome burst of heat and color, even if those qualities are more illusory than real and subject to a fast fade.

Most of their jokes miss the mark and the movie gets lost in action/thriller territory that’s anything but thrilling.

It's a fast-paced motion picture that fails the "reality test" but maintains a certain intensity for its entire running length. It's entertaining in the same way that an episode of "24" is entertaining.

As slasher movies go, Halloween II is far from the bottom of the barrel, but, given its pedigree, one has a right to expect a higher degree of quality that what is delivered.

They could have called this Paranormal Inactivity.

The best I can say is that I was never bored, although I was never overwhelmed, either. There are enough small things to keep it interesting even when many of the big things fail.

Painfully unfunny and unnecessarily long, this movie is the antithesis of its predecessor, the delightfully raunchy "Horrible Bosses."

No one steals scenes from Samuel L. Jackson when he’s in this mode. His entire modus operandi is to be the biggest, baddest motherf... (watch your mouth!) on the planet. Nevertheless, Regina Hall gives him a run for his money – something she does with a lot less screen time.