Lost Highway is unusually bizarre even for this atypical director. Co-written by Barry Gifford, the film ventures deeper into the nearly psychotic supernatural than any feature Lynch has previous overseen.

Amateur is a curious mixture of high art and delicious campiness, and the result is a funny, insightful, and almost-hypnotic motion picture.

Hysteria's "hook" is that it chronicles the development of one of the 20th century's most popular home appliances: the vibrator. However, although the details surrounding the deplorable state of women's medicine during the Victorian era are intriguing, the central story - a romantic comedy between a progressive woman and a forward-thinking doctor - is flaccid.

We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring.

Although The Phantom is more often enjoyable than not, it lacks that special characteristic necessary to provide it with a unique identity. Arriving in the midst of so many "can't miss" offerings, I expect it to sink like a rock, moving quickly to "dollar theaters" then to video. I'd like to be able to champion this film, but the truth is that I'm tiring of the genre as a whole, and, while The Phantom opts for a different tone than most of its brethren, it's still not an especially memorable motion picture. This is the kind of movie that offers modest entertainment while you're in the theater, but is forgotten by the time you get home.

A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.

I'm sure there's an interesting story of sibling rivalry somewhere in She's the One, but Burns has cluttered it up with so much artificiality that it never gels. Who really cares whether Francis and Mickey make peace with each other, or who ends up with what girl? If these things mattered to us, She's the One would have been a success, but since they don't, it isn't. Since New York only needs one Woody Allen, maybe for his next film, Burns will try stretching his thematic and geographical boundaries. Otherwise, his promising film making career may already be in trouble.

With its refined wit and glorious vision, The Hudsucker Proxy is certainly deserving of a wide audience.

It takes something lackluster like The Amazing Spider-Man 2 to remind viewers why movies like "Captain America: The Winter Soldier" are considered superior.

At its best, The Journey is riveting drama, with Paisley and McGuinness acting as proxies for the two sides in the long-simmering, bitter civil war that divided Northern Ireland for 40 years along sectarian lines.

Mediocre and recommended only to those who can claim a familiarity with the play.

Another Stakeout offers unfettered (and largely mindless) fun. The humor ranges from mildly amusing to downright hilarious, and the action scenes are handled with an eye for pacing and tension. Perhaps because of the absence of romantic chemistry, the second Stakeout isn't as good as the first, but it's still a worthy successor. Since virtually everyone involved in the 1987 picture is back, the sense of continuity is seamless, both in big and little things. For those looking for uncomplicated summer entertainment, Another Stakeout fills the bill adequately.

Cage’s performance provides the glue for an uneven film.

The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.

Looks great and has some raw, unsettling moments, but the overall impression is of a production that fails to achieve what it sets out to do.

The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.

Admittedly, the typical romantic comedy thrives on tropes and clichés but the pandering in Finding Your Feet is so extreme that it gets old fast.

I don't often use the words "godawful" and "abomination" to describe a movie, preferring to reserve such terminology for extreme instances when I feel duped and mortally offended. Case in point: Bachelorette.

Everything about director Rachel Lee Goldenberg’s film is bright, garish, and peppy. Although watchable as a sort of mindless flashback, it doesn’t work as a movie.

It’s an adequate horror movie with the requisite atmospherics and jump-scares, and it provides Conjuring fans with their fix. However, as the latest chapter of what is now a trilogy, it’s a disappointment.

Okay, Wanderlust has its moments. It's sporadically funny - funny enough to deliver a good laugh or two. The problem is, it doesn't do more than that, and the comedy is inconsistent.

Affleck is at his best playing wisecracking supporting roles (like in the recent Air, which Affleck also directed) and at his worst as an action hero. He sleepwalks his way through Hypnotic, doing little to rouse the audience from its own slumber while failing to generate any sparks with his co-star, Alice Braga.

Five Feet Apart’s final half-hour is disappointing and frustrating – and it has nothing to do with the eventual fates of the characters or their romance. What’s bothersome is that, after spending nearly 90 minutes of meticulously developing a sensitive, honest relationship between two ships passing in the night, the movie takes a turn into the ridiculous.

Pokemon: Detective Pikachu isn’t a movie. It’s a cog in a multibillion-dollar media empire, a soulless feature-length example of product placement at its most blatant.

The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.

The problem with The Book of Eli is that the narrative isn't a match for its sentiments. The script feels like it's an iteration or two short of a final draft.

One note portrayals, skin deep characters, and a glacial pace all combine to prevent The Quarry from succeeding either as a slow-burn thriller or a message-oriented drama.

It's an epic pretender, not an epic contender.