It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.

Although there is a political element to this movie, however, it works on a primal level – that of a person struggling to find not only a path forward but some kind of meaning in an act that lacks reason, compassion, or sense.

While Seven lacks the cleverness of the superior "Usual Suspects," it's strong enough to hold its own against most other thrillers.

Unfortunately, for all its button-pushing, the movie's biggest offense is that it is often tedious and meandering and it takes at least 30 minutes too long to cross the finish line.

High Society doesn't just have a voice -- it has a heart and a soul as well.

As an introduction to the story for someone with no previous exposure to Oliver Twist, Polanski's movie is adequate.

The movie, written for the screen and directed by Scott Cooper (who helmed Jeff Bridges’ Oscar-winning performance in "Crazy Heart"), is careful not to demonize anyone and make the path to redemption both slow and methodical.

The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

There's not a single original moment to be found in Pacific Rim's 130-minute running time, but that doesn't much matter because the familiar beats are conveyed with maximum expertise intended to provide a visceral experience.

The film, anchored by a towering performance from Dwayne “The Rock” Johnson as Mark Kerr, is at once a sports drama, an addiction-and-recovery story, a tale of toxic romantic love, and an ode to male friendship. Unfortunately, it doesn’t fully succeed as any of these, because with so many elements competing, none has the room to truly emerge.

The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

Despite providing an opportunity to spend 147 minutes in the company of people we have grown to know and love over the years and advancing the narrative toward its final cataclysmic confrontation, The Deathly Hallows Part One underachieves. At a time when Harry Potter should be soaring to new heights, it remains curiously grounded.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

As a means to finally bring the Fantastic Four into the MCU, First Steps is as successful in its own way as Spider-Man: Homecoming was. In addition to representing an apology for the previous big-screen botching of Galactus, the film puts all the foundational pieces into place.

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.

Although I was suitably diverted by Last Breath, I couldn’t help but feel there was a missed opportunity to tell a more riveting story that, for whatever reason, the filmmakers chose not to pursue.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.

70% style and 30% substance. It has a plot and characters, but those are almost beside the point.

Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.

Perhaps the most disappointing thing about Suffragette is that it too obviously wants to be an important movie. The self-consciousness of this desire is evident.

Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.

Hard-core science fiction fans will likely greet Sunshine with a smile. Others may find this to be an odd motion picture, but there's enough going on that even those who are expecting something flashier should still be engaged.

Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.

This is essentially a familiar story told with consummate skill.