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

Although the problem lies primarily in the difficulties associated with condensing an epic tale into a short-ish movie, the lack of elegance with which that is accomplished makes Artemis Fowl a failure for anyone hoping for the next great fantasy film.

This movie is built to be consumed, forgotten, and replaced — a product, not an experience.

Whatever small pleasures it may offer are wiped out by the frustrating sense of incompleteness that accompanies the arrival of the end credits.

As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.

For a movie intended to explore the conflicts and difficulties inherent in any kind of love (be it humans for each other or for their music), The Thing Called Love is largely unsuccessful. More than anything else, it ultimately appears to be little more than a predictable melodrama. Country fans will probably find in this motion picture an appropriate expression of their music. Everyone else is likely to view The Thing Called Love with about as much enthusiasm as they would reserve for the latest Randy Travis release.

This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.

Trolls World Tour is better suited to watching at home than in a theater. It’s a shadow of its predecessor, a regurgitation of some of the elements that made the first one popular but without the sense of spontaneous fun.

Despite being largely uninspired, the dialogue is peppered with enough profanity and salacious comments to keep the undiscriminating interested.

The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.

Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.

Unfortunately, the lukewarm spy thriller offers a convoluted, meandering storyline that’s almost entirely devoid of tension and suspense. There’s less action than one might expect and the character development is so thin that even when a character is in danger, it’s hard to care.

Not without humor, but it lacks the explosive spontaneity of "The Hangover."

Even as a mindless diversion, it's weak.

In Fast X, there's plenty of noise and CGI (some of it on the dodgy, cheap-looking side) and things crashing and blowing up, but there's never a sense that it means anything.

Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.

Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.

Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.

The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.

The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."

Older viewers may lose patience with the thinness of the narrative. Nostalgia might keep them watching but there’s only so far that can go and 90 minutes is too much to ask without the correspondingly intriguing story that Summering lacks.

Although it does an adequate job of illustrating the reasons why history remembers Curie, it feels more like a Victorian/Edwardian era soap opera than the chronicle of a scientific pioneer.

In terms of checking off the genre’s requisite boxes, You, Me & Tuscany does just enough to earn a passing grade for rom-com devotees who prioritize "vibes" over cinematic standards.

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.

Unfortunately, after the introductory sequences, Casino Royale begins a downhill slide. It gets progressively sillier and more incoherent until it's impossible to keep any of the plot elements straight.

What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.

There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.

What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.