Despite being sold and marketed as a thriller, the most interesting aspects of Shot Caller are the dramatic ones.

This movie isn't a disaster, but, all things considered, there's little reason to make it a high priority for theatrical viewing.

With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

One of its most obvious strengths is that it can satisfy many different types of audiences -- those who demand something substantial from their motion pictures, and those who could care less.

While I admired the lead performances, the journey of The Drama remains unfulfilling. When I see a movie like this, I want to connect with the characters and believe their circumstances. I got some of the former but practically none of the latter.

Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.

In many ways, The Forgiven feels like a CliffsNotes version of a longer, more complex narrative. But, even considering that numerous subplots might benefit from a mini-series approach to the material, the transformation of the central character is handled in a powerful, credible manner.

The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.

It’s an okay movie if all you want is an everyman dad doing superhero-ish things while getting beaten up along the way, but it’s neither as wildly entertaining nor as exhilarating as its predecessor.

Despite having a slim resume (the quirky indie Safety Not Guaranteed), Trevorrow handles Jurassic World like a pro. He hits all the right notes, giving the two-dimensional characters as much heft as they deserve (which isn't much) and handling the action sequences like a seasoned veteran of Hollywood tent pole features.

Relying more on existential and philosophical issues than action or cheesy special effects, Realife represents the kind of movie I want to see more of.

The new Ivan Reitman/Arnold Schwarzenegger comedy is a one-joke affair, and it takes surprisingly little time for the potential humor in the situation to wear thin.

Putting aside all the controversy, however, viewers are left with an expertly-directed and well-acted historical epic that disappoints only in its shallow perspective of the Irish/British and Irish/Irish conflicts.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

This is a movie to restore the faith of those who had given up on science fiction after "The Matrix Reloaded/Revolutions." By adeptly combining action and ideas, it proves that Hollywood can still produce astonishing entertainment.

There are times when iconic characters should be left alone to bask in the glory of a single appearance and, unfortunately, that's the case with Gordon Gekko.

This isn’t Sheridan at his best and, although it may provide Jolie with some exposure outside of voice work and Disney properties, it’s not going to resurrect her career as an action star or a serious actress.

So, for Bad Boys for Life, we avoid a trip into the lowest depths of hell in favor of a dead end.

The concept of expanding the John Wick “world” by adding a worthy female counterpoint isn’t an inherently bad idea. The flaw is in the execution.

The scares (if you want to call them that) are still there - one "boo!" moment after another, strung together like a breadcrumb trail through a labyrinth. So if that's all you want from a Halloween release like Paranormal Activity 3, you are the perfect audience member.

Brooks' take on the ups and downs of modern romance and the unexpected turns it takes is smart, funny, and (above all) uncommon. It's not hard to recommend this on Valentine's Day or at any other time.

This is a disturbing film, a journey into the heart of a damaged man’s psychosis. In many ways, it’s more of a horror film than an action/adventure offering. Even Nolan’s The Dark Knight, the crown jewel of the 21st century DC/Warner Brothers cinematic catalog, traced a more traditional comic book movie template than Joker. Within this genre, there has never been anything quite like it.

Despite its general failure, some scenes from Clash of the Titans remain memorable. Chief among them is the duel with Medusa, a scene that ripples with tension.

For a story like this, there’s something about a purely animated approach that can’t be replicated in a live-action repetition. Nevertheless, as an alternate telling with a more mature point-of-view and a greater focus on narrative over music, Rob Marshall’s The Little Mermaid leaves its mark and Halle Bailey’s Ariel can stand alongside Jodi Benson’s.

The result, while capable of painlessly occupying 90 minutes, isn't remarkable enough to recommend as more than a home video rental.

The dramatic scenes aren't generally effective, but the comic bits more than make up for most of the deficiencies. Those searching for something that examines a crumbling marriage with greater depth and sensitivity would do better watching Judy Davis in Husbands and Wives.

Diamonds Are Forever is plagued with problems. After a promising start, the story devolves into idiocy.