It’s all in good fun, if a little shallow.

The Client is an example of what happens when a production team does the best they can possibly do with a routine script.

Fast-paced and often witty, but ultimately vapid.

The film comes across like a soap opera and there are too many characters and storylines for any one of them to grab the heart and imagination. The film isn't painful but it is disappointing.

Young is very good in her part, making Eva a strong, flawed character whose depth helps to counterbalance the shallowness of everyone else. On the whole, however, The Damned wasn’t able to achieve what I was hoping from it and, rather than being an overlooked gem, it’s instead simply “overlooked.”

Anchorman 2: The Legend Continues could easily be called Anchorman 2: More of the Same.

A standard-order noir murder mystery with a confused, contrived last act, Anon is more notable for how it sees the future than what it sees going on there.

The actors can't be faulted for any of Lovelace's missteps.

Unfortunately, while certain aspects of Girl 6 are handled with flair, the film's dramatic scope too often isn't compelling enough for subject matter of such rich and varied possibilities.

The heist-inspired elements aren't well thought through and it becomes a question of which is harder to swallow: the mechanics of the story or the idea that a couple of sixtysomethings can kick this much ass.

Guilt Trip is cinematic comfort food for road trip fans who aren't given indigestion by Streisand.

The movie is still incredibly silly but in a more boisterous way, like a comic book come to life.

To an extent, Snakes on a Plane reminds me of "Eight Legged Freaks." It has the same kind of off-the-wall, don't-take-it-seriously comedic horror sensibility.

From the sluggish introduction to the chaotic heist scenes (which happen quickly and haphazardly), the first 45 minutes of Ambulance struggle to find any sort of rhythm. Once the protracted ambulance chase begins, the film is on firmer footing and viewers will recognize aspects of the familiar Speed template, but the movie never achieves anything more substantive than being impressive eye candy. After a while, it becomes more exhausting than exhilarating.

The movie drags at times, evidence that the too-generous 160-minute running time adversely affects pacing without resulting in a better-defined, deeper storyline.

The final 15 minutes are so awful that it's difficult to believe that the bulk of the film is actually decent.

By-the-numbers, generic plots no longer work and that, unfortunately, is what Seventh Son delivers. Impressive set design and visuals, excessive CGI, and a loud score from Marco Beltrami can't fully compensate for bland character development and a predictable narrative that rushes along on a linear trajectory.

Although Paul Blart is by no means great cinema, there is amusement to be uncovered as we watch Kevin James bumble his way through actions oh-so-similar to those navigated with more blood, sweat, profanity, and dead bodies than Willis. Too bad there's no "Yippekayay...."

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

As a shallow tale of conscienceless bloodshed and revenge, Last Man Standing is reasonably effective. But as an updated version of the far better-realized Yojimbo, it's an unqualified failure. Last Man Standing is a surface picture -- it looks good, sounds good, and moves quickly -- but there's no depth whatsoever.

Director Guillermo del Toro’s unique visual style is on display but the story is predictable, the characters are flat, and the supernatural elements are red herrings. To paraphrase a character, this isn’t so much a ghost story as it is a “story with ghosts.”

The last 60 minutes offer adventure as rousing as anything provided in either of the previous installments. Unfortunately, that doesn't account for the other 108 minutes of this gorged, self-indulgent, and uneven production.

Sadly, passion and romance are two ingredients missing from this melodrama, which does an excellent job of re-creating the Depression-era circus business.

Unfortunately, it's almost impossible to make it through the entirety of Ant-Man's two hours without thinking of "Honey, I Shrunk the Kids" as least once, and I'm not sure that's an association the filmmakers were courting.

The premise is intriguing and the cast is top-notch but, taken as a whole, The Adam Project comes up short. As a way to fill an unpretentious couple of hours, it’s fine (especially as part of a bigger streaming package), but as a destination film, it’s a disappointment.

The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.

One of those plot-by-numbers sit-com movies that tries hard (perhaps too hard) to reproduce the elements that made the earlier film successful.

One of the great frustrations associated with Fast Food Nation is the way it drops subplots.