The "Da Vinci Code" was adequate but forgettable. "Angels & Demons" was godawful. Inferno is somewhere in between - watchable but by no means worth the money and effort necessary to see it theatrically.

Overwrought and disjointed, Ewan McGregor’s directorial debut is surprisingly faithful to aspects of the text but the overall presentation is conventional and disappointing.

Lazily written and indifferently filmed, this sendup of action/spy movies rarely works as a satire and becomes downright unbearable when it attempts to do things like character/relationship building.

Unfortunately, as with too many films being made with the international market in mind, Jack Reacher: Never Go Back is a jumble of overhyped action scenes, trite dialogue, painfully bad “character development”, and awful writing.

The thing that makes The Accountant unique, however, and elevates it above the garden variety action-thriller, is that the title character’s “superpowers” result from his autism.

The performances are universally strong - not that one would expect anything else considering the quality of the cast.

Are you a Kevin Hart fan? Then drop everything and rush to see this movie. Are you not a Kevin Hart fan? Then move along, there’s nothing here to see…

When I say that Parker is a master manipulator, that’s meant as a compliment of the highest order. He gets us into this story and puts us unequivocally behind Nat.

As a B-movie whodunnit designed for fast consumption by popcorn munching crowds of inattentive viewers, it’s solidly entertaining. But as a complex, Hitchcockian (as in the obvious inspiration, Rear Window) thriller, it misses by a wide margin.

Take away Kristen Wiig, and Masterminds offers nothing. She is by far the best thing about the movie and easily outshines her SNL compatriots Kate McKinnon, Leslie Jones, and Jason Sudeikis.

A fresh and engaging storybook adventure that should appeal to viewers both inside and out of the core demographic.

Although engaging, Deepwater Horizon ultimately offers a mixed bag of an experience. The setup is considerably better than the payoff, front-loading the experience.

Unfortunately, although Blair Witch owes much to the spirit of "The Blair Witch Project," it’s an inferior production. This is as much a result of stylistic and narrative choices as it is a reflection of how the horror landscape has changed in the last 17 years.

If there’s a compelling reason to remake The Magnificent Seven, it can’t be found in the 2016 version, a loud, cluttered, and generally disappointing production.

For a director whose reputation is built on aggressively in-your-face subjects and styles, Snowden stands as a strangely inert outlier, a project that lacks passion although not perspective.

Bridget Jones’s Baby exceeds expectations and, as a result, makes us willing to forgive the delay in bringing the character back to theaters.

There’s more to this movie than offering fans an opportunity to wallow in the past. It gives the most complete portrait we’ve seen thus far of Nimoy, warts and all, as presented by the man who came the closest to knowing him.

Sully proves to be by turns engaging, exhilarating, and nail-biting.

It’s an attempt to wed philosophical science fiction concepts with bloody horror - a dubious endeavor that somehow works. The movie doesn’t seek to be a mindless gore-fest but neither does it show restraint when it comes to violence.

It’s a well-made, serious drama arriving in an era when those qualities rarely describe multiplex fare.

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

From a purely narrative perspective, there’s nothing new here but like a new arrangement of a familiar tune, the slight changes make it fresh and enjoyable.

An amateurish effort that boasts direct-to-video characteristics, the latest version disappoints in almost every production aspect.

The problem with War Dogs isn’t the dark humor nor is it the cynically accurate deconstruction of military procurement and corruption. The lack of dynamism and depth in the characters is what hamstrings this production.

Anthropoid is engrossing but it isn’t happy. War movies, at least the best of them, seldom are.

The best animated feature (at least thus far) of 2016.

It gets props for kinetic energy, bursts of suspense, and a couple of bravura performances (Will Smith & Margot Robbie). But pretty much everything else is either mediocre or substandard and that makes it hard to champion this bloated and cheerless monstrosity.

Matt Ross’ screenplay occasionally stumbles (especially late in the proceedings) and the ending opts for a too-facile resolution but the director/writer offers moments of genuine power and pathos that make it easy to forgive the missteps.