The underlying idea is pregnant with promise but writer/director Shelagh McLeod, making her feature debut, is trapped by the time limitations of a film into cutting narrative corners and cheating to achieve an upbeat ending.

The problem with In Time, to the extent that it is a problem, is that an intriguing premise turns into window dressing for a somewhat routine "Bonnie & Clyde"-meets-"Robin Hood" action thriller with car chases, heists, and gunplay.

It’s fast paced but goes nowhere new and the film’s “bigness” makes it hard to remember what an amazingly unexpected treasure The Curse of the Black Pearl was.

The writer/director may have a deep understanding of his material, but Mr. Jealousy doesn't offer anything original or remarkable, and, while what the film is saying often strikes a responsive chord, that alone isn't enough to earn it an enthusiastic recommendation.

There’s a sense that, in trying to add humor and cinema-friendly “touches” to her narrative, Gleason occasionally takes us too far from reality and, during those times, the movies loses its focus on the 16-year old protagonist, Jamie Winkle (Joey King).

Although there’s admittedly some perverse entertainment value to be found in this soap-opera derived mystery, the movie never rises to the level of something gripping like "Gone Girl." It’s occasionally fun in a trashy sort of way, but nothing more.

More bland than bad, And So It Goes is being dumped into a crowded mid-July schedule in the hope that someone tired of noisy blockbusters might see it. The problem is, as antidotes go, this one is most likely to induce sleep as a means of relief.

The movie does offer its share of thrills and cheesy, unsophisticated fun. Just don't watch it if you're planning any air travel soon.

The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.

In short, Flash of Genius fails to make viewers care with any depth about the story it's telling.

As it is, it's a passable diversion.

Would probably have been more enjoyable if Berkowitz was less irritating. As a character, his only redeeming quality is his self-deprecating humor.

Following director Peter Jackson's powerful, true-life matricide tale, Heavenly Creatures, The Frighteners falls short of expectations by being just one of many in the long line of 1996 summer movies.

Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.

Certainly, the story told by The Monuments Men is worth telling and it's easy to see why a luminary like Clooney would be sufficiently attracted to want to direct it. Unfortunately, this treatment, written by Clooney and long-time collaborator Grant Heslov, isn't the best fit.

Some of the funniest scenes belong to Ice Cube's "angry black captain" who goes on profane rants that would make Samuel L. Jackson proud.

The performances are solid but I walked out of the theater thinking I might have been equally edified and entertained reading the man's Wikipedia entry.

This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic.

Two words that come to mind when considering The Judge are generic and predictable. It's also well-intentioned and earnest (perhaps to a fault).

In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.

With a breakneck, don't-bother-to-stop-and-think-about-it pace, Tank Girl zips along for over one-hundred moments, only occasionally lapsing from its zaniness.

Constantine will appeal most strongly to those with a penchant for vivid cinematic comic book adaptations.

A perfect example of how solid directing and good acting can almost redeem a derivative story.

With its whiplash-inducing tonal inconsistencies and sloppily assembled narrative, Amsterdam often feels like a pastiche of (take your pick) Monty Python, The Coen Brothers, or Wes Anderson grafted onto a crime caper/espionage thriller with a strong allegorical message about fascism.

A passable motion picture that features several memorable scenes. It's not a masterpiece, but neither is it a waste of time.

No one will ever confuse Ron Howard with Robert Altman. So, instead of a potentially hilarious satire, we're left with, as one character in the film puts it, "a joyous celebration of boobery."

Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.

It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.