One Fine Day has a few enchanting moments, such as a scene where Jack sweeps Melanie off her feet (literally), then splashes around in a large puddle of water. However, as a romantic comedy, this is a spotty affair because it's not really funny or romantic enough. Keeping the leads apart might work for something like Sleepless in Seattle, where the intention is to develop an old-fashioned, long-distance romance, but, in a movie like this -- one that's being pulled in so many directions that it's coming apart at the seams -- it's a mistake. For much of its running length, One Fine Day lacks focus and direction, and that makes it one fine mess.

It’s not a terrible movie but it feels like a failed attempt to infuse the Coen Brothers’ wry aesthetic into a B-movie tableau.

It’s too bad no one working on the production recognized the disparity in quality between the performance/non-performance scenes or they might have leaned more heavily on the former at the welcome expense of the latter.

It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.

The action scenes are crisply directed, brutal, and invigorating.

It's the kind of high energy, fast-paced film where you can guiltlessly root for the heroine to persevere -- but that's all it succeeds at.

Generations spends its running length searching for, and never completely finding, its niche.

Because I so enjoyed the last 45 minutes, I'm tempted to recommend it. The problem is that you have to sit through an hour to get to the worthwhile parts.

Die-hard fans of Witherspoon and the romantic comedy genre will probably find enough to like in this film to make it worth a trip to the theater. Everyone else would be best served by spending their hard-earned money on something else.

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.

Crawl is an old-fashioned B-grade monster movie made with 2019 technology. In short, that means plenty of gore and jump-scares to go along with creatures that no longer look like puppets or men in rubber suits.

Although Where’d You Go, Bernadette suffers from an ungainly structure and uneven pacing, the production as a whole is engaging and uplifting.

Director Lucky McKee and screenwriters Jared Butler and Lars Norberg take a standard premise and tweak it sufficiently to make it interesting and, at times, even darkly humorous.

sStarts and finishes strong, but, somewhere in the middle, it loses its focus and its way.

Intriguing but ultimately unfulfilling.

Quality-wise, however, there's a big drop off from sex, lies and videotape to Full Frontal.

Little of the film is new or innovative and, although director Ang Lee can boast some interesting choreography with one of the fight scenes (something involving the use of a motorcycle as a martial arts weapon), his inventiveness doesn’t extend to the tired storyline, which feels like recycled pulp material.

The movie is at times funny, at times blistering, and at times insightful, but it lacks consistency, thereby arguing that perhaps the short film that provided its basis offered a better length.

The ideas underlying Aeon Flux's plot are the film's strength, and the filmmakers deserve some credit for doing more than paying lip service to them.

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.

Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.

Deeply flawed though it may be, Perfume is a challenging motion picture, and one whose impressions are not easily shaken.

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.

By compressing everything into an overheated 24-hour period, Duck Butter is able to explore the highs and lows in extreme circumstances, where the importance of every moment and action is heightened.

For every thing that Stage Beauty does right, it fumbles at least one other element, resulting in a movie-going experience that is of the glass half-full/half-empty variety.

Breach is competently made but, aside from Cooper's performance, there's nothing here worth getting excited about.

The problem with The Affair is that once the World War II segments have ended, the movie loses its momentum and ability to balance both sides of the romance.

The plot, credited to Simon Pegg & Doug Jung, is pure Trek. Unfortunately, it’s also instantly forgettable.