Three-fourths of a good horror movie and one-fourth disappointing. The film, constructed as a series of episodic vignettes connected by an umbrella story, remains solidly engaging until it gets to the ending.

Finally - a superhero movie that doesn't feel like every other superhero movie.

Day of the Soldado retains the edge-of-the-seat and nihilistic qualities of its predecessor, but there are shifts to the overall tone, which is neither as stark nor as ominous.

The problem with the film is that that story, hackneyed when it first made it to the screen in 1984, has grown only more tired over the past 26 years.

I’ll be the first to admit that not everything in Saltburn works and, during some of the cringe-inducing instances when it fails, it does so rather spectacularly. Yet Emerald Fennell’s film is just bonkers enough to be wildly entertaining and completely disturbing in equal parts.

Fast-paced with a morbid sense of humor and copious pop culture references, Kingsman breezes along at a nice clip until it gets a little bogged down during its final third.

The movie starts with a series of kaleidoscopic, high-energy scenes that prove to be Birds of Prey’s high point. Even in these early moments, there’s a sense that narrative isn’t going to be a big selling point for this movie and those misgivings prove to be correct.

Are you a Kevin Hart fan? Then drop everything and rush to see this movie. Are you not a Kevin Hart fan? Then move along, there’s nothing here to see…

The film is well-paced and expertly edited, allowing scenes to flow naturally into one another.

What we have here is enjoyable, if somewhat scattershot, and at least as entertaining as what’s airing most Saturday nights at 11:30 pm.

The movie wears thin its welcome a couple of reels before Apatow has finished telling his story.

It’s a well-made, serious drama arriving in an era when those qualities rarely describe multiplex fare.

A fascinating portrait not only of a lady, but of the society and marriage that entrap, then attempt to destroy, her.

The way it has been presented, with forced and artificial junctions, keeps the viewer at arms-length from the story and creates questions about the historicity of some scenes.

Taylor's approach to this material -- mixing occasional humor with undemanding drama -- works well enough that we don't care about the logical inconsistencies and plot holes. To that end, The Emperor's New Clothes ends up as a pleasant diversion.

All These Small Moments offers a mix of honesty and artifice. Some of the scenes simmer with truth; others are too obviously the construct of a screenplay.

It’s easily digestible and, although some of the less successful elements may try the patience from time-to-time, the companionable chemistry – screwball banter mixed with romantic frisson – between Bullock (who’s much better in this sort of part than her more serious outings) and Tatum smooths out many of the rough patches.

An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."

Offers two hours of solid entertainment.

The movie is generally entertaining, if only because the three primary characters capture the audience's sympathy, but the story doesn't contain much honest drama.

The Devil's Advocate is a highly-enjoyable motion picture that's part character study, part supernatural thriller, and part morality play.

Spectre is the most “traditional” of the Craig Bonds. Although a little light on gadgets, it has everything else,

Nothing short of a disaster -– easily one of the worst movies of the year.

This movie ranks as better-than-par entertainment.

This is a mediocre horror/comedy that deserves neither high praise nor disparagement.

Putting aside any long-term implications, The Multiverse of Madness is a frustrating mix of eclectic elements that at times feel more like Raimi referencing his Evil Dead movies than his previous superhero work. It’s undeniably fascinating and at times exhilarating but my overall feeling is one of vague disappointment.

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

It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.