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.

Gods of Egypt is often sloppy and fails in many ways but the cheesy momentum is hard to resist.

Race, like "42," does a workmanlike job of bringing the lead character to life and explaining his historical importance, but it fails to transcend the genre.

If all it took was verisimilitude and atmosphere to define a movie, The Witch would earn a near-perfect rating. Unfortunately, despite a creepily effective setting and authentic setup, the movie suffers as a result of a frustratingly uneven screenplay.

Zoolander would have been better left as a stand-alone cult classic.

A horrifically bad romantic comedy that serves as a celebration of entitlement, consumerism, and shallow behavior.

Compared to Deadpool, "Guardians of the Galaxy" is a bastion of sobriety and good taste.

This new horror/romance mashup provides just enough flavor of Jane Austen’s classic to tease without satisfying.

The absence of a strong narrative is the film’s weakest aspect. The Coens are so absorbed by their mimicry that they don’t invest a lot of effort in the connective tissue.

Like most sequels, it pacifies its core demographic by offering “more of the same.” To that extent, it can be said to be successful.