It comes across as painfully politically correct, offering trite sermons on various "hot-button" issues (gun control and the greenhouse effect). The narrative follows an unwavering by-the-numbers strategy with an ending that echoes the "cornball" of Al Pacino's climactic Scent of a Woman speech.

Missing works well enough as a popcorn flick that doesn’t demand much in the way of concentration. That makes it a solid throw-way that offers a couple hours of forgettable entertainment.

Kudos to Darren Aronofsky for having the courage to make this film. Kudos to Paramount Pictures for having the guts to open this wide rather than burying it or hiding it as a VOD release. It’s too bad it doesn’t work.

Poseidon is devoid of anything that might conjure up memories of the Winslet/DiCaprio coupling. Its straightforward action/adventure approach is both a strength and a weakness.

The Lovebirds stands out as a worthy opportunity for home entertainment.

Dark Web is a sequel only in that it mimics its predecessor’s style. The story and characters are new and, because the supernatural element has been eliminated, the movie adds a dash more suspense to go along with a heap of misanthropic nihilism.

The movie feels like Baumbach is working through some family issues.

Sometimes funny, sometimes clever, and occasionally involving, but it's never brilliant and its edge is compromised by the neutering that accompanies the teen-friendly PG-13 rating.

Extract is no masterpiece, but it's considerably better than many 2009 films that have received a more robust backing.

The film has its charms but the end result feels like warmed-over James Bond… and not even especially good 007, at that.

Let's get this straight from the start: Slither isn't great art, but that doesn't mean it isn't good entertainment.

There's some entertainment value, but the production as a whole is unfocused.

Still, for those who feel that too few movies these days offer the pure bliss of a testosterone overload, The Losers provides an antidote.

Despite its problems, The Swan Princess is actually one of the better non- Disney animated productions to come along in a while. While the creators of Beauty and the Beast, Aladdin, The Lion King, and Pocahontas need not feel threatened, parents looking for something different to take their offspring to might find something worthwhile here.

As preposterous wannabe Hitchcockian thrillers go, this one is adequate.

Non-Stop plays like what might happen if Michael Bay directed a screenplay developed for Alfred Hitchcock.

This is sit-com level material and, as such, there’s not much new or interesting that De Niro can bring to the proceedings.

Visually, The Good Dinosaur boasts some of the most amazingly photo-realistic sets I have seen in any animated film.

Out of the Furnace features some nice performances and is deliciously atmospheric but it never achieves its goal of being a compelling meditation about how the economic erosion of a community influences the lives of those trapped within it.

On balance, Man on a Ledge is fun, but I left the theater feeling disappointed and cheated, as if the filmmakers set me up for something great they ultimately couldn't deliver.

The unfortunate ending, which wallows in artifice, is superficial and saccharine, and unworthy of the material that precedes it.

The title character never emerges from the iconic shell she inhabits to become a fully fleshed-out individual and the filmmakers are perhaps too reverential to make her seem real. Like Camelot, she’s a mythic figure and Jackie doesn’t do enough to humanize her.

Possesses both an edge and a sense of self-mocking that's unusual for any feature, live or animated.

It's juvenile from start to finish, which is fine if you're young, but not so great if your sole purpose in a theater is to accompany someone who's young.

Offers solid entertainment, it's too uneven to be considered memorable.

Melancholia represents von Trier at his best and worst. Visually and thematically, Melancholia is a rich motion picture, full of nuances. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.

Rodriquez nails the pacing – it’s slow enough to allow for character development (at least where Alita is concerned) but ramps up during the well-choreographed battle and chase sequences. Everything moves along fine…at least until the final few minutes when it becomes apparent that we’re about to be victimized by a story that requires multiple installments to play out.

Arguably Sandler's most enjoyable motion picture to date, but it's still far from a masterpiece.