More bland than bad, And So It Goes is being dumped into a crowded mid-July schedule in the hope that someone tired of noisy blockbusters might see it. The problem is, as antidotes go, this one is most likely to induce sleep as a means of relief.

If you want daring or original, Fools Rush In isn't the movie to see. Like 90% of all romantic comedies, it follows a time-honored formula that allows little room for variation.

The film’s depiction of cataplexy is a reasonable representation considering how it’s being used (sufferers may understandably disagree). It’s too bad that so many of the screenplay’s other elements – like its treatment of basic human emotions – are badly mishandled.

Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.

In general, parodies may not rely overmuch on plot, but they need more in this department than Death to Smoochy possesses.

The Pink Panther is supposed to use humor to uplift. Instead, I departed this movie feeling depressed.

There's enough compelling drama here to overcome elements of artifice. Men, Women & Children feels meaningful although perhaps not profound.

Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, "The Cooler" and "Running Scared."

An amateurish effort that boasts direct-to-video characteristics, the latest version disappoints in almost every production aspect.

Dominion argues that not even the return of three beloved characters can rescue a franchise that has fallen and can’t get up.

Nearly every role is miscast, which is rather amazing. Christoph Waltz and Judi Dench (as an abbess) are perhaps the exceptions.

Here’s a rare example of a Netflix prestige film that neither runs too long nor overstays its welcome. While some of the A-list directors working for the streaming distributor have taken the opportunity to meander and add bloat to otherwise worthwhile projects, Ron Howard has developed this project exactly as he would have made it if it had been intended for a traditional release.

Unlike most comedies, the jokes succeed more often than they fail, except perhaps during the concluding fifteen minutes, when the movie runs out of gas.

Take away the film's attitude, and you're left with "Son of Van Helsing."

The movie mandates complete gullibility and vacuous attention in order to work on any level.

A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.

It’s generic but not so bad that it becomes unwatchable.

The performances, excepting perhaps Olivia Wilde's odd turn, are solid, and the central story never loses our attention, but there's a lingering aftertaste of vague dissatisfaction.

A prefabricated example of shoddy workmanship.

This movie was made to be shown to junior high history classes, not audiences in a movie theater.

From the start, it's obvious that this is a vehicle for his comedy, and it mostly works -- for about ten to fifteen minutes. After that, Carrey's act gradually grows less humorous and more tiresome, and the laughter in the audience seems forced.

Striptease is a curious mix of eroticism, comedy, and drama that, instead of blending into a pleasing whole, has a tendency to separate and curdle.

Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.

It's amazing how boring an action movie can be when there's absolutely no point to all of the sound and fury.

When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.

This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.

P2 doesn't crash and burn, but its finale is more generic than what the effective first hour leads us to hope for.

The waterlogged end product is an example of lazy writing and direction with the vague hope that perhaps the involvement of Dwayne “The Rock” Johnson will attract viewers.