The only worthwhile portion of Twin Dragons is the climactic action sequence, but, to get to that, it's necessary to endure more than an hour of unfunny physical comedy and excruciating verbal interaction.

A family film (albeit a mediocre one).

It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

The length is the film's undoing. No matter how tantalizing the premise, overexposure leads inevitably to boredom.

Although visually more impressive than even Bakshi’s blend of traditional animation and rotoscoping, The War of the Rohirrim suffers from some stylistic hiccups and the straightforward storyline limits the “epic-ness” of the production. Still, as a stand-alone adventure story, this is an engaging episode and a solid addition to a still-limited cinematic universe.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

It's an entertaining diversion - a good way to pass a couple of hours as late summer evenings lengthen - but not much more.

There's nothing in So I Married an Axe Murderer to recommend the film, even to die hard Saturday Night Live and Wayne's World fans. This uninspired, completely forgettable mystery satire is bursting with the brand of juvenile humor that only a select few seem to find funny. When it comes to guys named "Mike Myers", it's debatable who's less watchable: the ex-SNL actor or the mass murderer who keeps surfacing in the seemingly-endless series of Halloween films.

The only time Sparkle evidences energy is during the song performances, of which there are too few. The half-baked melodrama provides an unappealing and overlong buffer between them that fails to justify the nearly two-hour running time.

This is a vile and reprehensible motion picture.

Ten Items or Less is not landmark cinema nor is it deeply thought-provoking, but it's smart, funny, knowledgeable about life and people, and a crowd-pleaser.

Traditional and uninspired, it does an adequate job of relating Duran’s story but falls short of providing an engaging cinematic experience.

Has some interesting things to say about someone thrust into the spotlight against their will but the sometimes heavy-handed emotional manipulation limits the production’s overall power and effectiveness.

The most disconcerting thing about A Walk in the Clouds' tendency towards overt melodrama is that almost all of it is totally unnecessary. Minor script changes could have eliminated huge chunks of this, leaving behind an uplifting love story. Even as it is, however, there's still something special about the motion picture. I just wish the final half-hour hadn't been such a bloated disappointment.

12 Strong represents a recent war as depicted on screen in an old-fashioned way.

Has a fascinating premise; it's the execution that's sloppy.

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

It's hard to deny that Brüno succeeds in being both outrageous and outrageously funny, and it's hard to damn a comedy, regardless of its faults, for those qualities.

It’s cinematic fast-food but not of the delicious, addictive variety. It’s a little overcooked and has gone cold – still edible but by no means satisfying.

This unexceptional and uninteresting story of a self-pitying borderline-personality teenager verges on being unwatchable as a result of McDonald's decision to bombard the audience with extraneous images in lieu of telling the story.

Provided the viewer is broad-minded enough not to be bothered by a nearly constant stream of profanity, Strays offers a kennel of off-color laughter.

Steve Carell's portrayal of Max is just about perfect for the material.

Boiling off the divisive political subtext and its associated sociological aspects, what we’re left with is an old-fashioned exploitation thriller. Seen in that context, The First Purge isn’t half-bad. It’s competently made, delivers its share of thrills and edge-of-the-seat moments, and gives the audience an opportunity to stand up and cheer.

There's a good dose of reality in this story, even if the script occasionally becomes too preachy. The end sequences especially could have been toned down.

The film is worthwhile primarily for the fun, breezy first hour. After that, it's a case of watching to find out how things turn out.

This is as surprising a romantic comedy as I have seen in some time.

Like the real Eddie’s 1988 Olympic experience, however, the movie’s memory is likely to fade fast.