Taken 3 is exactly what one might anticipate from an unnecessary sequel in a mediocre franchise.

Superficial, uninformative, and inert, this two hour snoozefest isn't even inflammatory enough to stoke a righteous anti-Bush brushfire. W. does for recent history what Oliver Stone's epic "Alexander" did for ancient times.

Narrative-wise, Justice League is forced to do too many things.

Martian Child wants to make us cry. It nearly made me gag. This is an exercise in shameless and inept emotional manipulation.

Murphy in particular deserves better, but at least she got a boyfriend and a paycheck out of the deal. No such benefits await those who sacrifice both cash and time to see this movie.

The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.

Kids might think the snowman is cool, and some adults might be mildly amused by some of what transpires, but, on the whole, Jack Frost is far too superficial to be affecting, and its facile resolution to the loss of a parent borders on insulting. This is the kind of film that will leave most viewers cold.

A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.

Taken as a whole, the second Shazam! is an overlong mess with an awful ending that feels like it was assembled as a result of reading focus group responses.

In a streaming series spread out over four or six hours, this might have offered compelling content (and certainly would have seemed less rushed) but, in its current format, it’s more frustrating than satisfying and the facile ending doesn’t hit the right spot.

The contrived storyline offers little opportunity for characters to grow and the meandering narrative trajectory and anticlimactic ending will have some viewers wondering why they bothered.

The best bits in this film fall short of being inspired, but they are outrageous.

The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.

Foster's film offers its fair share of laughs, although most come at the expense of "easy mark" characters. Dramatically, however, the movie is only a step up from a flop.

Even with ILM providing nearly-flawless special effects, Dragonheart lacks a much-needed spark. It's obvious and plodding, and only occasionally impressive.

Genre fans may perceive it as good enough to scratch an itch but no matter how well it eventually incorporates the various Pride & Prejudice tropes, it’s hard to see this as more than obligatory and unnecessary.

A by-the-numbers, slightly fictionalized chronicle of the rise and fall of pop singer Whitney Houston (Naomie Ackie), the film struggles to find a reason to exist beyond providing fans with an opportunity to listen to some of her most popular songs.

The end result is something that feels like it should have been much better than it is.

Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.

Like undercooked comfort food, the series has lost its taste and appeal. Despicable Me 4 exemplifies what happens when an animated franchise overstays its welcome.

This may be the worst major animated film Disney has released in the past 40 years and its lack of creative energy doesn’t augur well for the immediate future.

Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.

Few authors have been as badly victimized by Hollywood as King; this is just another title to add to the list.

Sadly, as apt as comparisons to "Underworld" might seem, I, Frankenstein can't even clear that very low bar.

The caper in Carter & June is clumsy and straightforward, lacking sophistication and intelligence. Sadly, that’s an apt description of the film as a whole, which is difficult to sit through and leaves no lasting impression beyond the desire to warn people to stay away.

There’s a tiny problem, though: Clementine is neither erotic nor a thriller.

The follow-up proves not only to be creatively bankrupt but a disappointment on all levels and thereby tarnishes the perception of its predecessor.

"Magic Mike" was self-contained, made with no expectation of a second chapter - and they prove unable to surmount it. Too many elements that made the first film an enjoyable experience are missing.