There's enough material in Self/less to fuel a mini-series. Instead of letting the story breathe, the film rushes along at breakneck speed, using contrivances and "shortcuts" in failed attempts at character development.

Many of the jokes are either obvious or have been exposed through pre-release marketing material. I kept waiting for the clever or insightful moment that never arrives. The bar is set pretty low for Minions.

The best one-liners, like the best fight scenes, are reserved for Schwarzenegger. It's too soon to tell whether Terminator Genisys will have a catch phrase like "I'll be back" or "Hasta la vista, baby" but there are several candidates. Much of the film's comedy results from The Terminator's failed attempts to emulate human behavior.

"Magic Mike" was self-contained, made with no expectation of a second chapter - and they prove unable to surmount it. Too many elements that made the first film an enjoyable experience are missing.

It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.

The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.

Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the genre classic, but this has a closer kinship to Rin Tin Tin. Although its sensibilities are old-fashioned, the movie offers a modern look and feel.

Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.

I won't argue that Inside Out is as profound or all-around engaging as "Toy Story 3," but the films succeed in many of the same ways.

Consistently hits the right notes, earning both the tears and smiles that result.

Gemma Bovery, which is based on a graphic novel by Posy Simmonds, possesses a deliciously sense of wit and irony.

Despite having a slim resume (the quirky indie Safety Not Guaranteed), Trevorrow handles Jurassic World like a pro. He hits all the right notes, giving the two-dimensional characters as much heft as they deserve (which isn't much) and handling the action sequences like a seasoned veteran of Hollywood tent pole features.

They say the third time's the charm. Not with the Insidious series, it isn't. Admittedly, installment #3 is an improvement over #2, but it fails to reach the highs of the chilling-but-uneven original.

If nothing else, Entourage (the movie) can be considered a faithful follow-up to Entourage (the TV program). That's good news for anyone who enjoyed the series up to the end and not-so-good news for those who lost interest along the way or never were interested in the first place.

The problem is that writer/director Paul Feig became too enamored with his storyline which, at best, could be described as a lame James Bond parody.

It's an orgy for disaster porn devotees.

Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).

There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.

Tomorrowland is an interesting collage of moments and ideas in search of a strong narrative and a coherent ending.

Regardless of whatever ephemeral entertainment this production may offer to some, it is not by any reasonable definition a good movie. It is badly written, inexpertly directed, poorly acted, erratically paced, and features music of dubious worth.

Talk about taking things to a new level… Theaters showing Fury Road should have seat belts installed.

This is a dark comedy; the tone is such that it benefits from Jack Black emphasizing the less appealing aspects of his personality.

There's hardly an area in which Hot Pursuit is not found lacking. The comedy is unfunny with joke after joke falling painfully flat.

There's nothing here to astound or surprise; the movie neither exceeds nor falls below expectations. Those who love Hardy and/or the less-filmy romances of his era will derive the most from Far from the Madding Crowd.

The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortunately, that's about all it does.

Age of Ultron disappoints not because it's irredeemably bad but because it fails to achieve the level of its predecessor in nearly every facet.

The final production is so jammed with subplots and secondary characters that it often feels like the Cliffs Notes version of a complex novel.

Haphazardly plotted, it not only falls prey to absolute predictability but chooses to have nearly every important conversation (except one) occur off-screen. That sort of laziness is unacceptable and results in a strong sense of audience dissatisfaction.