With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.

If the idea of spending 90 minutes in a movie theater seeing gorgeously rendered versions of a hugely popular gaming world and its characters going through the motions appeals to you, then The Super Mario Galaxy Movie will scratch the itch.

The Man from Toronto is derivative and forgettable; nothing about the venue in which it is seen will change that.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

It’s another comedy that falls prey to two common problems: (1) predictable, uninspired humor, and (2) inept attempts to inject drama into the proceedings during the last act.

Actually, the more distance the studio places between the two films, the better, because the 1997 production can't hold a candle to the 1973 release, and an attempted comparison only makes the new Bruce Willis/Richard Gere vehicle look worse.

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.

Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?

To be fair, there are occasional moments that succeed dramatically. These are typically the quieter, less histrionic ones.

The problem with Rampage is that it’s not content to be mindless fun. There’s too much exposition and too many needless human villains. Plus, the tone is more lugubrious than the flippancy suggested by the trailers.

The movie falls into the category of something a viewer is likely to stick with once sitting there but it lacks anything sufficiently unique or compelling that would make it worth seeking out.

The movie is uneven in the extreme, to the extent that it feels like two imperfectly wed pictures. The first, while not extraordinary, at least contains some interesting ideas. The second borders on embarrassing: an overblown melodrama complete with coincidence building upon coincidence and plot threads that are left unresolved.

Overlong and at times tedious; the taste is gritty and lingers unpleasantly.

The promise of an intriguing premise results in expectations that the film, which rarely diverges from the familiar feel of a post-apocalyptic road movie, is unable to capture.

The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.

Even those approaching Megalopolis with an open mind and fully expecting to see an expensive and expansive art film may be disappointed by the result. The more I reflect on the movie, the more convinced I become that the things Coppola does well are dwarfed by missed opportunities and outright missteps.

Contraband is the kind of thriller that offers just enough in the way of effective elements to assemble a two-minute trailer. When it comes to a 110-minute feature, however, the sketchiness of the plotting and the director's lack of sure-handedness sink the project.

The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.

This is yet another early 2025 movie where there’s just enough material in the film to assemble an intriguing three-minute trailer but not enough to make the other 120 minutes of more than passing interest.

Okay, Wanderlust has its moments. It's sporadically funny - funny enough to deliver a good laugh or two. The problem is, it doesn't do more than that, and the comedy is inconsistent.

Suspension of disbelief is an oh-so-tricky hurdle for a movie like this to overcome and The Book of Henry fails to achieve it.

The movie isn't so much bad as it is formulaic and uninspired. In some ways, that might almost be a worse sin.

The mismatched blending of Hirschbiegel's low-key horror and the Wachowski Brothers' anything-but-low-key action sequences results in a cinematic dud.

Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.

A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.

Smith has infused this final chapter of the accidental trilogy with an odd tone. It’s a comedy that wants to be serious but has trouble finding the right pitch.

The film clearly wants to be more than just a run-of-the-mill horror-thriller but the allegorical aspects are half-baked and the attempts to mimic Kubrick’s "A Clockwork Orange" and "Eyes Wide Shut" feel more like campy satire than an homage.

Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.