This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.

The craftsmanship is impeccable as is the acting, but the storytelling is where the movie falls down.

Although there’s nothing in The Dial of Destiny that damages the character’s legacy, this is as unnecessary as any franchise entry in recent years. Indy’s time has passed. It’s time to let him go gently into that good night.

Suffice it to say that those who love the play will sit enraptured through Wicked for Good and not think it’s a minute too long. Those without the same depth of connection may leave wishing Chu had hired a less generous editor and made better use of his pruning shears.

It's surprising to admit that the British comedian, known far and wide for his willingness to take risks, plays it safe in The Invention of Lying - a fault from which the movie never truly recovers.

Although the film provides material for adult viewers to chew on, it is not as deep or thoughtful as some of the Pixar classics.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.

Unfortunately, following a key narrative inflection point, the suspense starts to leak out like the air from a slightly punctured balloon as the screenplay stumbles through minefield of hostage movie clichés on its way to a predictable and moderately unsatisfying conclusion.

The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.

The film, although deeply flawed, is at times compelling, even if it seems as if a reel is missing.

One could argue that Crank works best as a comedy. It's occasionally funny, and some times VERY funny.

As heist films go, Radford has crafted an engaging, if not especially memorable one, with Flawless.

On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.

Overall, I found the film to be somewhat disappointing – another instance of a streaming service pouring big screen dollars into a project of only middling quality.

The Cured suffers from a common marketing problem that afflicts many horror-cross-something hybrids: it’s at times too slow and existential for pure blood and gore lovers and too grotesque for those with a penchant for offbeat, idea-based allegories.

This is what serious horror is like and it’s not for everyone.

Indy's companions are weak; we don't identify with them the way we did with Marion and Sallah. There's less action and more overt comedy, and neither change works to the benefit of the story.

The special effects budget is on the high side but those effects serve the story rather than the other way around, and Paul is all the better for it.

Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.

The Laundromat uses a format not unlike that of "The Big Short" (without Margot Robbie in a bubble bath) to shine the light on the kinds of activities uncovered by The Panama Papers.

The problem isn’t the non-fiction book by Diane Ackerman around which the narrative has been constructed, but a series of “added” scenes and subplots that seem lifted from a bad B movie and have the unintended consequence of devaluing the story as a whole.

While the film does deliver a few solid laughs (though none that truly hit an 11), it ultimately falls flat, feeling less like a theatrical mockumentary and more like an overlong streaming special.

A paranoia-choked atmosphere is the primary reason why The Thing works as well as it does. The setup is standard stuff, establishing that the characters are isolated and can expect no help from the outside. The realization there could be an alien among them, and any one of them might not be human, is what launches The Thing into a spiral of escalating tension.

There's nothing special, shocking, or precedent-setting about the film, but it functions on a level that 007 fans will appreciate - as eye and ear candy for those who prefer action to exposition and character development.

The performances are uniformly strong and there are some powerful scenes but the overall story arc is less insightful or affecting than one might hope.

It's an awkward technique that outlived its usefulness more than four decades ago. I like the movie, but hate its presentation.

This is a workmanlike motion picture with solid performances. It's just that the superior production values are used in service of a mediocre storyline.

Enjoy this movie for what it is - the kind of motion picture that can cause Champaign-like giddiness - and don't obsess over how true-to-life this work of fiction is.