For the first time in three films, Roger Moore starts to unearth a personality for Bond.

Ultimately, The Bride! has "cult classic" written all over it. It possesses very little mainstream appeal—it is simply too weird and outlandish for the average moviegoer—but there are enough flashes of brilliance to fascinate a niche audience in years to come.

Old School is exactly what director Todd Phillips intends for it to be: low-brow, moronic to a fault, and occasionally side-splittingly funny.

I suspect City of Angels is going to remind many viewers of “Ghost,” but there's a big difference: this film is more true and less manipulative.

The film is more than a little odd but it has fun with its offbeat premise and moves along breezily until it gets bogged down in the third act.

When this movie is quiet and introspective, it speaks with a clear voice. That insight gets muddled, however, the more forceful Singleton becomes.

Allen's first mistake is turning this rivalry into a May/December romance. His second misstep is "converting" Stanley, thereby neutering the delightfully acerbic quality that characterizes his and Sophie's early interactions.

Hulk represents the most involving superhero motion picture since "Superman" soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do -- allow us to really feel for the protagonists.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

It's either a failed experiment or a movie that was rushed through production so Allen could fulfill his one project-per-year commitment.

V/H/S comes across as a production that wants to be more than it is but, as they say, The Emperor has no clothes.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

The core relationship is what makes the movie with this ill-advised title a well-advised choice.

Watching Imagine That, I was beset by a feeling of intense depression. Is this what Eddie Murphy has become?

The most enjoyable parts of The Secret Life of Walter Mitty are his fantasies, such as one in which he stands up to his boss in a way he never would in real life.

I would classify Charlie Bartlett as a smart teen film. It's more ambitious and overall more successful than its '80s forebears even though the resemblance is unmistakable.

A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.

There's no shortage of material on the screen in Bee Season - it's just not assembled in a satisfying manner.

Just don’t expect this to be a light, escapist excursion into outer space. Even by sci-fi/horror standards, this is dark, gruesome, intense stuff.

Another Simple Favor feels lazy and overplotted, and it definitely overstays its welcome.

The movie is pretty to look at in a "Transformers" sort of way and moves briskly enough that it never threatens to bore, but it's hard to feel much of anything about the characters and, when it's all over, there's a sense that everything that happens is obligatory.

Despite being drenched in atmosphere, Last Rites can’t conjure enough genuine scares to fend off the creeping sense of boredom.

The film, directed by South Korean Jee-woon Kim, hits all the necessary action beats and effectively blends in the humor.

Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.

The bottom line: If you know what the Anti-Life Equation is, this movie was made for you and you might enjoy it. If that sounds like comic book gobbledygook to you, it’s safe to say you won’t be missing anything by not giving up four hours of your life to sit through this.

In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfils the promise of its name and adds another title to a storied legacy.

The film's structure is a little awkward, almost certainly as a result of its being expanded from 20 minutes to 97.

The movie's realistic portrayal of the ingredients that can lead to bullying and other forms of unkindness inflicted on outsiders by those in power, speaks strongly to viewers watching in the 21st century.