In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.

There are also plenty of background sight gags that often go unnoticed on a first viewing.

For romance junkies, the film checks all the boxes. For those who want a little more, it comes complete with a smart script, likeable leads, and a willingness to occasionally tweak a trope or two. My only complaint about Plus One is that the ending feels a little rushed.

This is a fun, funny trifle that deserves to be enjoyed on its own terms – a throwback that only feels old when that serves its purposes.

From an acting standpoint, Blake Lively makes a compelling case that she doesn't have what it takes to play this sort of a role; she lacks the chops to carry the elements of the movie in which she is expected to dominate.

The Hundred-Foot Journey represents a pleasant diversion for those who have grown weary of traditional summer movie fare. The picture is about people and how they interact. There are no explosions or car chases.

The film's climax is nothing short of hilarious. And Death at a Funeral doesn't discriminate when it comes to the type of humor it embraces it. Everything is in there, from physical hijinks to verbal repartee to naked man jokes to drugs and gross-out stuff.

Nickel Boys has a lot to recommend it, but there’s a sense that the experience could have been more devastating had the filmmakers simply let it play out rather than using it as an opportunity for directorial flourishes and experimentation.

Yes, the ending is weak, and there are aspects of the story that don't stand up to scrutiny, but this is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation.

On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.

Prometheus is the antithesis of the "big, dumb summer movie." Its visuals and special effects can stand toe-to-toe with any of the season's spectacles, but are audiences ready for something with an intelligent, thought-provoking screenplay where the action is secondary? Prometheus is flawed, but stupidity cannot be numbered among its missteps.

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

John Wick is a rousing action thriller of the sort rarely encountered in theaters these days. The once popular genre, which was headlined by the likes of Stallone and Schwarzenegger during its heyday, has been a dying breed during the past two decades.

As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

Lee's primary objective is to reflect back and offer a uniquely personal perspective of that single day last October. This viewpoint, which ultimately transcends the movie's flaws, is one of the aspects that makes for a worthwhile two hours.

When focusing on the micro-verse inside a news van and the four passengers taking the trip, Civil War does a good job dissecting the damage done by a desensitization to violence. But it botches the background and features an ending that belongs in another movie (preferably one featuring Gerard Butler).

In this motion picture, Oliver Stone presents his vision of the forces that drove and motivated the late President. And, factual or not, there's no denying that Nixon has moments when it is nothing short of compelling.

Works on its own terms, which is more than can be said of most horror films these days. If this is the kind of movie you're looking for, it delivers.

This isn’t just another “cancer movie.”

The 2014 iteration isn't as good as its 1974 predecessor but it offers its share of small pleasures, not the least of which is the crisp, sharp dialogue that never loses its punch even when it veers close to the edge of pretentiousness.

This is post-apocalyptic adventure as imagined for a teen crowd, and what it lacks in depth it makes up for in action. With a slight running time of 80 minutes, 9 doesn't contain an ounce of fat on its animated bones.

The film has more charm than the average romantic comedy, but, when considered from a bare-bones perspective, it follows most of the rules that define the genre.

For the first time in three films, Roger Moore starts to unearth a personality for Bond.

Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.

Although perhaps a little too long and not as tightly plotted as Rogue Nation, Fallout offers everything a viewer could reasonably expect from a Mission: Impossible production. It’s reliable.

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.