If nothing else, Unfriended does an excellent job portraying the frenzy that is on-line teen interaction. This is the new equivalent of "hanging out."

Although This is 40 is too long and at times over-the-top, its essence is grounded in everyday moments and emotions that will have viewers nodding with understanding and recognition.

The dialogue is routine, frequently punctuated by cliches, and the character-building scenes do little more than waste time.

Devotees of either the classic animated Disney cartoon or the remake featuring real, live actors may find a few reasons to delight in Cruella. If one puts aside the film’s antecedents, however, what’s left is an unremarkable (although certainly not awful) family film (with a PG-13 rating) that lacks a compelling reason to exist.

An excellent movie… if you're a seven-year old girl. That's less a negative evaluation than it is a statement of fact. This isn't a "family film;" it's a "children's film."

A crowd-pleaser.

Like most rom-coms, it is comfort food although it lacks the fantasy element associated with characters who are less seasoned.

Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?

It doesn’t feel fresh, but neither is it stale. Despite the very modern setting, the throwback elements are by far the most welcome aspects being offered, proving that sometimes, sticking to the basics is the smartest move a director can make.

It's not a stretch to say the movie works in large part because of the charm and sparkle of the three leads: Ewan McGregor, Emily Blunt, and Kristin Scott Thomas.

Roach and screenwriter Tony McNamara sought a different perspective for the material. The result is more dramatic, less over-the-top, and proves to be tonally uneven. The humor is muted and less overtly vicious, but the more serious approach doesn’t quite succeed.

Scrooge is basically a harmless, fitfully enjoyable version of the timeless classic, and worth a look for those who have had their fill of the more serious adaptations.

The film has the twin virtues of being bold and dizzying...The greatest disappointment with Night Watch is that, at a critical juncture, it fizzles.

There are far worse horror sequels clogging up the streaming services, and Ready or Not 2: Here I Come at least occasionally delivers on the promised gore and dark humor. Still, for those who just want to see Samara Weaving go scorched-earth on some devil-worshippers one more time, there are enough viscera and sharp objects to provide a passing entertainment.

As it is, this is a painless experience but lacks the qualities to make it a true pleasure.

It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.

A tremendous improvement over the tepid 1995 original, this quasi-sequel brings humor, fun performances, and a canny understanding of late 1990s-style video games to a party that never takes itself seriously.

Wildling starts out strongly but the qualities that make the first 20 minutes engrossing and harrowing drain away and the movie morphs into a thoroughly unsatisfying excursion into fantasy-tinged horror.

The story is overly familiar and the characters are all types, but Cohen's cinematic techniques make The Fast and the Furious watchable.

There are moments of pure poetry in the movie but the production as a whole seems overlong and repetitive and takes a detour or two that distract from the aching beauty of the central story.

The movie works when focused on character interaction and buddy-movie tropes, but the action elements are perfunctory at best and boring at worst. Bill Dubuque’s script is never able to balance out the ledger.

Hitch is 2005's lone legitimate contender for a Valentine's Day movie date.

The movie, which is concerned primarily with the several weeks surrounding Eichmann’s capture, mixes factual elements with a few “Hollywood touches” to provide a compelling thriller.

To be fair, there are occasional moments that succeed dramatically. These are typically the quieter, less histrionic ones.

August: Osage County is all about the acting. That makes sense because the storyline doesn't offer much that could be considered new or remarkable.

At times, the film tends toward meandering and self-indulgence.

The film is unquestionably more accessible than Horse Girl, but for all of its parodic elements and unpredictability, it nevertheless feels unpolished and unfinished.

What a horror film SHOULD be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact.