The fourth movie is in many ways better than it has a right to be and it’s certainly a worthy way to dispose of a couple of hours lying on the couch at home, but this is hardly a triumphant return for Axel or Murphy.

As a movie, The Hoax isn't a fraud but it's not the real deal, either.

It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.

Whannell fails to address how easily the power of invisibility can be foiled in today’s world where anyone can buy cheap (less than $200) infrared goggles for overnight delivery.

This is a lackluster film that exists exclusively because its predecessor made money.

There are those who will see this as a silly fantasy, but they have either missed or chosen not to feel the magic woven by The Sandlot. Predictable as the movie is, the Field of Dreams quality is not the only thing to like about The Sandlot.

The film is worth seeing for the humor and for its high level of energy, but it falls short of being the "complete package." It's probably a better pick for home viewing than a trip to a theater.

There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.

A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.

The Saint is more of a character-based thriller than a strict stunts-and-explosions film, which is a good thing because the action sequences are mostly flat and obligatory. Even when he generates a degree of tension, director Phillip Noyce (Patriot Games, Clear and Present Danger) is unable to sustain it, and the disappointing ending is not only long and drawn out, but lacks a sense of closure.

As a chance for Isaac to re-familiarize viewers with his serious side after spending three films in a galaxy far, far away, it’s effective. But as a character study, it’s flawed and as a narrative, it’s erratic. There are too few high cards in the movie’s deck for it to be considered a winning hand.

Sasquatch Sunset is sufficiently different that it’s almost worth seeing for that reason alone. Alas, I don’t think it sufficiently rises above the gimmick of its premise to provide a compelling reason to spend 90 minutes in a movie theater.

Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.

Too often, Boynton Beach Club feels like a made-for-TV movie with a little sex, nudity, and profanity thrown in to spice things up.

The action sequences were often nail-biters, the lead characters were well-developed, and the dialogue was intelligent.

By playing it safe, One Last Thing offers tearful interludes but not a lot more.

Like fruitcake, movies like this are ubiquitous at this time of the year but rarely are they devoured with great relish or enthusiasm.

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 images in The Good Lie have the power to disturb but lack the gut-punch impact necessary to give us an immediate and lasting connection to the protagonists.

A rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.

Once Batman v Superman hits its stride, most viewers will feel equal parts pummeled and immersed. Snyder is a master of the dark spectacle and he pours it on starting around the movie’s midpoint.... Still, although viewers may be riveted at times, the net experience isn’t much fun.

There are good reasons to see Tully. Theron’s performance is high on the list, as is that of Mackenzie Davis. The first 30 minutes are uncommonly good, which may be why the spike of disappointment is so acute when the film fails to maintain that level for its entire length.

Baumbach is 45 (roughly the same age as Josh) so he writes from personal experience. He knows what these characters are feeling which is the reason why the human elements resonate with authenticity - a quality that fades when While We're Young wanders off on the tangent about what constitutes a legitimate documentary.

It's solidly entertaining for what it is and, while it does little to truly rejuvenate the franchise, at least it lessens the pain caused by two gimmicky cross-over pictures that sucked too much juice out of what was one of the 1980s' most surprisingly tense sci-fi action pictures.

By sticking so close to the look and feel of the source material, The Super Mario Bros Movie comes across as something more desirous of being played than watched. I could see this adventure being great fun if approached with game controller in hand. Sitting in a movie theater, however, I found myself wanting more, as if I was only getting part of the experience.

This is a Beauty & the Beast romance between Nicole Kidman and Chewbacca.

For all its faults, Gracie is made with enough grace to get us rooting for the protagonist.

Almodovar's central parody is strong enough to save this film from floundering too much or too often. It's daring and nasty, but rarely brilliant.