Reynold’s charisma and some solid gags hold things together for a while but the movie ultimately comes up short despite its promising premise.

I didn't feel strongly one way or another about The Kings of Summer. It's too innocuous to actively dislike but there's nothing memorable here. The characters are bland; the comedy, while occasionally eliciting laughs, is lukewarm; and the relationships never gel.

Delivers its share of cheap scares but never unlocks the door to the creepiness that would have made this is memorable movie-going experience.

Unlike most comedies, the jokes succeed more often than they fail, except perhaps during the concluding fifteen minutes, when the movie runs out of gas.

An incomplete movie, artlessly cleft in the middle. Cinema interruptus.

Scream VI offers two hours of fan service while serving up enough gore to appeal to many generic slasher/horror movie aficionados, but there’s not much beyond that.

The movie is generally entertaining, if only because the three primary characters capture the audience's sympathy, but the story doesn't contain much honest drama.

Essentially a one-joke movie that milks its central conceit long after there's nothing left.

There are times when musical/comedy elements and the darker, serious drama of the love triangle war with each other. This is one of the great romantic tragedies of all time, and the film falls short of doing it justice.

At its best, Terminal is a tasty, tangy parfait – a kaleidoscope of neon-tinged visuals and a twisty storyline with a tortured time line.

Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."

Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.

The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.

The Wedding Ringer is imperfect but its imperfections are tolerable because they're accompanied by a dollop of drama, a measure of laughter, and an oversized helping of Kevin Hart.

While Bean branches out from the format developed for the television series, it remains faithful to the concepts and constructs that led to its success.

Isn't loaded with promise, but at least the producers had the good sense to hire Bill Murray. Jack is the kind of irritable, self- absorbed guy that Murray can play perfectly, and the comedian's presence in Larger than Life lifts it to a considerably higher level than it might have otherwise attained.

Director Robert Rodriguez understands the exploitation genre and delivers everything one craves from it - over-the-top, graphic violence; scenery-chewing villains; cheesy one-liners; and plenty of naked boobs and bums.

The Boy in the Striped Pajamas should be heartbreaking, but it isn't. The muted quality of its impact is the result of narrative shortcuts and a desire to keep the images from being too startling.

Annette dares to be different and, at a time when so many movies feel like cookie-cutter representations of better past tellings, there’s more than a little virtue of taking an offbeat and oddball path, even if the detour is too long and has a few too many potholes.

Tomorrowland is an interesting collage of moments and ideas in search of a strong narrative and a coherent ending.

While some of the darker threads in the movie are welcome – Guardians was in danger of becoming overtly jokey – it suffers from many of the same problems that have dogged the latest round of comic book movies: a too-long running time, not enough genuine excitement, a generic villain, and a weak ending that doesn’t justify all the build-up.

The story is pure exploitation but the style bespeaks a more artistic bent. The film can be enjoyed (to the degree it can be enjoyed) for its excesses, perverse humor, and excursions into blood, barbarism, and violence, but the narrative doesn’t make a lot of sense.

Unfortunately, Kelly’s reach exceeds his grasp and the movie’s thematic content comes across as muddled and superficial.

Wolfs is a pleasant enough experience. At 108 minutes, it’s not too long and, putting aside the aggravating manner in which Watts ends the story, it goes down easily.

Sadly, about the nicest thing I can say about What Happens in Vegas is that I didn't hate it - although I suppose that's something.

Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.

The result, while capable of painlessly occupying 90 minutes, isn't remarkable enough to recommend as more than a home video rental.

If The Player set the bar high for this sub-genre, Levinson's attempt, which too often falls prey to self-indulgence and tedium, comes up significantly short.