It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.

The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.

Aside from being a showcase for up-and-coming action star Jason Momoa, it offers little else of note.

Today, it feels like a parody and at times slips into “so bad it’s enjoyable” territory.

Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.

For the most part, its characterizations are so weak and ambivalent that the audience finds it difficult to develop much sympathy for anyone, regardless of whether they're white or Native American.

While the film does deliver a few solid laughs (though none that truly hit an 11), it ultimately falls flat, feeling less like a theatrical mockumentary and more like an overlong streaming special.

"Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.

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.

Whether the core flaw lies in the script or is the result of overly aggressive editing, the final result is offers only sporadic glimpses of the compelling thriller Broken City fails to evolve into.

Robert the Bruce is too long by at least a half-hour for the surprisingly slight tale it has to tell.

Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.

Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.

Dreamer is a kids' movie. It offers the simple black-and-whites of innocence, with no grays to add complexity.

For a mostly brainless movie, The Expendables 3 has a surprisingly dense plot, which is part of the problem. The 2-hour running length is unnecessarily long.

Jamie Foxx, compelled to take the role for personal reasons, turns in what could arguable be the best performance of a varied career. (Others might say that the distinction belongs to his work in Ray.)

Some players will enjoy the flashes of familiarity but others will find the production to be lacking. “Cringey” might be too harsh but this is unlikely to become the next video game-to-movie classic.

Lacks both a focus and an edge, making it an amorphous mess.

It’s a big-screen cartoon and, although it may work for its target audience – video game-consuming pre-teen boys – other viewers may find the production to be lacking in anything beyond a little visual razzle-dazzle.

Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.

Your reaction to Double Team will probably depend largely on how you feel about concussive action films. While this one is better than most, it still falls considerably short of what I consider to be a "good" movie. One thing's for sure, though: like most flicks that boast more stuntmen than cast members, Double Team is unlikely to function as a Sominex. You may not enjoy it, but you won't fall asleep. And that's the best thing I can say about this loud, brash, ultimately pointless morsel of eye candy.

For a movie being touted as a sophisticated farce suitable for family viewing, North turns out to be surprisingly immature.

Warcraft provides the shell of a great fantasy adventure saga but never effectively goes beyond that. This is much more like the bad fantasy of the 1980s and 1990s than the better brand we have recently become accustomed to.

The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.

At 2 1/2 hours, the movie is actually too short to adequately tell the full tale (The Ten Commandments is 70 minutes longer) but that doesn't prevent Scott from presenting multiple, seemingly endless scenes of people crossing deserts.

Captain America: Brave New World, the fourth title to co-opt the “Captain America” name and the first to star Anthony Mackie in the role, is another example of how badly unmoored the MCU has become in an era of unfamiliar heroes and stalled storylines.

Although there are occasions when individual set pieces are effective (such as a short bit involving a locked bathroom door), the film as a whole seems more like a series of missed opportunities than a “return to form” for director M. Night Shyamalan, who continues to trade on a name he made two decades ago.

The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.