The plot, credited to Simon Pegg & Doug Jung, is pure Trek. Unfortunately, it’s also instantly forgettable.

A scathing satire of conspicuous consumption and a fashion-obsessed culture, Absolutely Fabulous - The Movie hits most of its targets and twists the knife but, as funny as the material sometimes is, the flimsy narrative and threadbare caricatures encounter difficulties trying to sustain a 90 minute motion picture.

Unfortunately, the film stumbles, offering too few legitimate scares and displaying an overreliance on traditional horror movie clichés.

It is, at best, an oversized, overbudgeted Saturday morning cartoon.

This is a mediocre horror/comedy that deserves neither high praise nor disparagement.

This isn’t "Miami Vice." In fact, the intent (perhaps intentional) is for the gritty, noir-tinged The Infiltrator to tilt in the opposite direction.

Like much of what transpires during the course of this production, it’s just crass.

The Secret Life of Pets is strong enough that parents won’t fall into a catatonic state while watching it with their offspring. Unlike top-notch animated fare, however, it’s questionable whether this can be considered “destination fare” for the single adult.

Unlike so many of the bloated, disappointing entries into the 2016 big budget sweepstakes, this is good escapist entertainment.

Contrasting The BFG to "E.T." does the new film a disservice, and it’s mediocre enough that it doesn’t need the comparison to emphasize its shortcomings. In recent years, Spielberg has become a hit-and-miss filmmaker and this is closer to a “miss” than a “hit.”

The film clearly wants to be more than just a run-of-the-mill horror-thriller but the allegorical aspects are half-baked and the attempts to mimic Kubrick’s "A Clockwork Orange" and "Eyes Wide Shut" feel more like campy satire than an homage.

Tarnishes the image of its predecessor but the original Independence Day wasn’t all that good to begin with.

The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.

Horror fans will be so bored by the first 90 minutes that they will have either walked out or fallen into a coma by the time the blood starts flowing.

With its canned, predictable action sequences and mirthless attempts at humor, it displays an ineptitude that is frankly shocking considering the talent involved.

Finding Dory is enjoyable in its own right, even if its powerful sense of déjà vu keeps it from approaching the pinnacle of the Disney/Pixar collaborations.

Warcraft provides the shell of a great fantasy adventure saga but never effectively goes beyond that. This is much more like the bad fantasy of the 1980s and 1990s than the better brand we have recently become accustomed to.

This time around, however, the magic has fizzled. Based solely on merit, Now You See Me 2 is a sequel that should never have been made.

The Conjuring 2 proves that, with a sufficient investment of time and energy, sequels don’t have to be unsatisfying cash-grabs.

Although this might have been considered cutting edge 20 or 30 years ago, it has been done so often in recent years that it feels a little tired.

I am by nature a cynic and am easily turned off by manufactured sentiment. I dislike "Terms of Endearment" intensely. That I was fully immersed in this world and invested in the characters’ lives is a testament to the movie’s strength.

The movie is frequently incomprehensible and, on those occasions when it makes sense, the viewer may wish it didn’t.

X-Men: Apocalypse is a competently made superhero action film but it’s not a game-changer and its brand of action seems a little too familiar.

Calling The Angry Birds Movie an “animated film” is giving it airs. It’s a cartoon. Deal with it.

The follow-up proves not only to be creatively bankrupt but a disappointment on all levels and thereby tarnishes the perception of its predecessor.

The film overflows with quips, irony, and physical gags while at the same time relating a noir-tinged story of seedy corruption set in the neon-saturated underbelly of the 1977 Los Angeles porn industry.

Unfortunately, despite a surfeit of talent in front of and behind the camera, the movie is unable to overcome a shaky narrative whose increasing preposterousness ensures it’s difficult to take seriously.

Is it A Bigger Splash or A Bigger Bore? Despite a strong cast, gorgeous cinematography, and a suffocating sense of sexual tension, this movie takes far too long to get off the ground.