Wonder Woman 1984 is overlong, tonally inconsistent, and poorly paced. Although it raises the bar during its final hour, the viewer has to navigate about 90 minutes of action-deficient, sometimes nonsensical narrative to get to the point where the title character (again played to perfection by Gal Gadot) does something other than moon over her lost love, Steve Trevor (Chris Pine).

Although an intriguing way to deconstruct and reassemble a story familiar to most people who have taken high school English, Ophelia doesn’t live up to its promise perhaps because the lead character, even after having been “expanded,” is still rather flat.

Bad Times at the El Royale has problems beyond its inability to stick the ending but that’s the one that ultimately sinks it.

Director Robert Rodriguez understands the exploitation genre and delivers everything one craves from it - over-the-top, graphic violence; scenery-chewing villains; cheesy one-liners; and plenty of naked boobs and bums.

Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.

The Governess is solidly entertaining material with enough substance to lift it above the traditional period drama.

Tomorrowland is an interesting collage of moments and ideas in search of a strong narrative and a coherent ending.

It’s an elegant and highly unexpected offering from George Miller that allows him to step away from the Mad Max universe if only for one interlude.

It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture.

At a guess, I'd say that Goosebumps will satisfy its core audience - fans of R.L. Stine's popular children's books - and bore pretty much everyone else.

Although a heist film with a high testosterone quotient might not be everyone’s favorite wintertime treat, it’s an effective antidote for all the highfalutin Oscar wannabes out there.

Rules Don’t Apply is a strange, schizophrenic sort of movie. Despite moments of emotional strength and bursts of quirky comedy, the film is undone by its generally lethargic tone and the film’s insistence to shift its focus from the putative lead characters to a supporting player.

Saying bad things about Never Been Kissed, an unapologetic crowd-pleaser, makes me feel like the Grinch stealing Christmas, but there are some things that can't be ignored.

This film offers a compelling scenario of what could have happened. And Burger's look back through the recent mists of time is certainly no less likely or fascinating that Oliver Stone's in "JFK."

The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.

Brassed Off! is a traditional feel-good motion picture with an element of social commentary thrown in for good measure.

Frequently funny and occasionally hilarious.

For roughly the first two-thirds of its 109-minute running length, To the Stars is an effecting and effective tale of female bonding. Unfortunately, the wheels come off toward the end as melodramatic contrivances result in an unlikely climax and unsatisfying denouement.

Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.

Unfortunately, the material doesn't justify the talent. These women deserve more than Calendar Girls ultimately gives them.

It's an unsettling piece that reminds us how even monsters aspire to living the American dream.

Allen appears determined to craft a motion picture that can be laughed at without plumbing any especially deep neuroses of the human condition.

Overall, this is a well-acted peek back in history to an era when scientific and engineering techniques currently taken for granted were in their pioneering stages, impelled forward by humanity’s insatiable desire to explore and conquer new vistas.

One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original.

Enough conspiracies and secret codes to make Dan Brown sit up and take notice. All this and more can be found in David Robert Mitchell’s bizarre, trippy Under the Silver Lake, where the plot at times seems as perpetually stoned as Andrew Garfield’s lead character.

Hobbs & Shaw is a “classic” summer movie in every sense. It uses Fast & Furious physics (as opposed to the Newtonian kind) to amp up the spectacle element while diminishing the excitement quotient.

For many adults, sitting through this will be an exercise in tedium. It offers about as much as an oversized, overlong Saturday morning cartoon and if that's where expectations are set, it probably won't disappoint. Talk about setting the bar low, though.

Director Marc Webb brings the same kind of deft craftmanship for drama and low-key humor that he exhibited in "500 Days of Summer" and the result is emotionally true and dramatically solid.