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.

Those who attend this movie expecting to see a superhero smack-down won’t be disappointed, but anyone partial to Captain America’s saga may feel shortchanged.

Green Room is a simple movie with a straightforward premise. The film works for two reasons: Stewart’s presence and Saulnier’s execution.

The level of quality is such that this does not deserve a theatrical distribution and will only find appeal among pre-teen kids or those who have been fans of the games since their inception more than a decade ago.

By cramming far too much material into 114 minutes, The Huntsman: Winter’s War feels rushed and incomplete. It doesn’t help that the screenplay is at times awful, forcing accomplished actors to recite excruciatingly bad dialogue while maintaining a straight face.

As a race-against-time, Jason Bourne-inspired adrenaline cocktail, Criminal offers a couple of hours of popcorn-munching entertainment.

Well-made and deserves recognition as one of the year’s best family offerings (thus far).

Demolition founders and its overt symbolism feels forced instead of organic. The production is uncomfortable and artificial, lacking internal logic and tonal consistency.

Emotionally, Linklater’s recreation of August 1980 is spot-on. Sure, there are a few anachronistic cheats (how many college-goers in 1980 had a VCR in their room?) but the tone is just about perfect.

Eye in the Sky reminded me of "United 93" - not necessarily in terms of the subject matter but because of the apolitical, clear-headed manner in which it approaches an act.

This is a sit com. An ‘80s-style sit-com. A bad ‘80s-style sit-com.

Once Batman v Superman hits its stride, most viewers will feel equal parts pummeled and immersed. Snyder is a master of the dark spectacle and he pours it on starting around the movie’s midpoint.... Still, although viewers may be riveted at times, the net experience isn’t much fun.

It’s a strange little movie - by turns fascinating and frustrating. Its strong thematic thrust is counterbalanced by an uneven and at times farcical narrative and the characters are more avatars than well-realized individuals.

Allegiant tries to cram too little story into too much time. This results in dead spots and uneven pacing.

This movie is so atrocious I kept waiting for Nick Cage to show up.

The problems with 10 Cloverfield Lane result from attempts to tie it, however tenuously, to the earlier movie. Take away the disappointing, disjointed, and anti-climactic final act, and this is an effective white-knuckle psychological thriller.

There’s a lot here for kids to like and nearly as much to keep parents from fidgeting.

The Wave’s centerpiece is a critical ten-minute span between when the rockslide occurs and the wave reaches civilization. Played out in real time, this is a period of sustained and effective tension. It’s real, raw, and ragged.

Whiskey Tango Foxtrot has surprisingly dull fangs.

As action-thrillers go, this one provides what the previews tease. Maybe that’s enough for an evening’s mindless, throw-away entertainment, but I can’t help but be disappointed that the filmmakers couldn’t have brought something more inventive to a genre that too often relies on worn-out tropes.

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

Triple Nine turns out to be a thoroughly entertaining (although violent) thriller.