The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.

One of the best things about True Lies is that it's genuinely funny.

SubUrbia is about 95% dialogue, some of which is clever, but much of which is pointless.

Free Fire isn’t a “Reservoir Dogs for the 2010s” but there are enough similarities in approach, tone, and style to warrant a comparison. The violence, the cavalcade or profanity, the testosterone & adrenaline – they’re all present and accounted for.

For those who enjoy their sleuthing on the big screen (even IMAX) with impressively conceived set pieces, evocative performances, gothic twists and turns, and a drizzling of ghostly apparitions, A Haunting in Venice delivers.

Megamind is largely what one might expect from an animated movie featuring a number of notable comedians in voice roles: an amusing diversion.

It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.

This is a thriller with a high quotient of comedic elements or, if you prefer, a comedy with a high quotient of thriller elements. As is always the case with a production of Joel & Ethan, it's difficult to classify, but that doesn't make it any less enjoyable.

From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.

The Matrix Resurrections is a waste of time and money. For fans of the series, it’s a betrayal that deserves to be ignored and forgotten as soon as possible.

A case can be made that the movie is so enamored with this aspect of its approach that it fails to connect on an emotional level. Shutter Island addresses some powerful, disturbing concepts but, despite effective performances by the leads, the movie's psychological impact is minimal.

In movies this deliberately paced, the line between fascination and boredom is a fine one, easily crossed. Fortunately, Bubble stays on the right side of that line.

Robinson has assembled an impressive young cast comprised primarily of rappers (such as Tip Harris, a.k.a. T.I.) and fresh faces (newcomer Lauren London).

In the 1980s, this would have been deemed generic and forgettable. In the 2020s, it stands out because of its unapologetic exhumation of a partly-dormant genre.

From the beginning, it's apparent that there's something "off" about Youth in Revolt. It's not that the film is fatally flawed, but the tone is uneven, the satire is blunt, the comedy rarely generates more than feeble laughs, and the lead character never comes fully to life.

While this sort of film has its share of pleasures, it runs out of steam long before the end credits arrive. At some point just past the middle, it goes on autopilot. The glimpses of cleverness become less frequent and the movie seems more interested in upping the body count than advancing the (admittedly thin) story.

Manages to mix in a few good gags with the requisite gore.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

Not great fantasy, but it's on more solid ground than "The Golden Compass" and will seem less baffling to some. There's enough here to keep adults engaged, which is an important component of any motion picture that wants to be known as "family entertainment."

There's enough in the film to assemble an intriguing two-minute trailer. Unfortunately, the movie has an additional 92 minutes to fill and that's not something it's able to do with much success. The problems with Oh, Hi! relate not to its conception but its execution.

Overall, while not as strong in terms of plotting or character development, Prince Caspian is nevertheless a better cinematic experience than its predecessor, if only because it feels more confident and polished.

Despite a terrific performance by Kate Winslet and some powerful moments during the film’s final third, Lee falls into the bio-pic trap of trying to encapsulate too much of a famous person’s life into a two-hour chunk.

An inelegant melding of a bland origin story with a generic heist tale, Solo never generates sufficient energy or interest to elevate it above the level of a failed curiosity.

A great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.

Iron Man 3 has the stuff to please the devotees and divert everyone else, which is pretty much what's expected from the curtain-raiser of any summer season.

Has a bold, inventive style that occasionally compensates for story weaknesses. And, admittedly, there's a certain visceral appeal to the action sequences.

Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.

Crocodile Dundee is a breezy, fun affair - a trifle that is extremely pleasant to sample and leaves no bitter aftertaste.