The result, while capable of painlessly occupying 90 minutes, isn't remarkable enough to recommend as more than a home video rental.

Into the Storm is as straightforward a disaster film as you're likely to find.

When it's over, the sense is one of deep satisfaction - of having gotten to know a family in a way few motion pictures allow.

Teenage Mutant Ninja Turtles doesn't so much provide brainless enjoyment as it pummels the viewer into submission. "Shell-shocked" is a reasonable description of the experience.

The Hundred-Foot Journey represents a pleasant diversion for those who have grown weary of traditional summer movie fare. The picture is about people and how they interact. There are no explosions or car chases.

If you're a fan of James Brown's oeuvre, the film will keep you interested. If you're not, Get on Up will quickly become tedious and will wear out its welcome long before the end of its 133-minute run.

The vibe, if not the specifics, is highly reminiscent of "The Last Starfighter," "Battlestar Galactica," "Battle Beyond the Stars," and others. The fact that the movie's "present" is defined as being 1988 and the soundtrack is peppered with '70s tunes cements the retro feeling.

Poorly paced with a tendency to veer into the pretentious and littered with contrivances and dramatic short-cuts, I Origins fails to provide a single three-dimensional character or compelling relationship.

Allen's first mistake is turning this rivalry into a May/December romance. His second misstep is "converting" Stanley, thereby neutering the delightfully acerbic quality that characterizes his and Sophie's early interactions.

Looks great and has some raw, unsettling moments, but the overall impression is of a production that fails to achieve what it sets out to do.

More bland than bad, And So It Goes is being dumped into a crowded mid-July schedule in the hope that someone tired of noisy blockbusters might see it. The problem is, as antidotes go, this one is most likely to induce sleep as a means of relief.

Director Brett Ratner has always been associated with spectacle but, even for him, this represents a misstep because the "wow!" factor is muted.

Lucy is what a superhero movie might look like if developed by Spike Jonze and/or Michael Gondry.

Two fundamental problems afflict Sex Tape (aside from the fact that it's not consistently funny): a shocking ignorance about the state of modern technology and a mistaken belief that the subject matter is inherently edgy.

The result is an action-oriented survival tale, not unlike the kind of movie that Stallone or Schwarzenegger might have made back in the '80s.

This installment inches events closer to a merge point with 1968's "Planet of the Apes" while maintaining its own unique identity. It is in every way superior to "Rise of the Planet of the Apes."

This is a uniquely powerful motion picture, the kind of open and honest portrayal I can't ever recall having seen about a celebrity. Life Itself stands not only as a moving piece of documentary cinema but an epitaph.

Tammy is a road trip movie and, like many road trip movies, it embraces a meandering, aimless tone. It's often said for films of this sort that it's the journey that matters, not the destination. Unfortunately, in this case, neither is worth the price of admission.

This isn't a family-friendly film - anyone over the age of about 8 will immediately recognize that significant chunks of the story don't make sense.

This is as excruciating a movie as is likely to be experienced by anyone, anywhere. It isn't merely that the story is insulting, the characters are bland, the action is dull, and the CGI is everywhere - it's that all this goes on for nearly three hours. That's three hours of your life you'll never get back.

The film's notable quality is the music and as soon as one song is finished, we're ready for the next one. Unfortunately, there are often long passages of dialogue and narrative to endure before getting there.

Visually interesting but offers nothing groundbreaking. The animation is competent but not overwhelming. There's no moment of wonderment.

There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.

It's more heavy lifting than some will be willing to engage in but there's something welcome about a motion picture that doesn't hand out a dumbed-down resolution in a neatly wrapped package.

The acting is top-notch, the characters are three-dimensional, and the dialogue is sharp and witty.

Offers a more satisfying cinematic experience than "Oblivion."

As far as the actors are concerned, Liam Neeson seems to be having fun hamming it up as the villain - a role he rarely gets to play.

Calling Maleficent a "modern-day classic," as some have asserted, is overreaching. The production is engaging and appealing but only the passage of time will determine whether it holds in the memory with the strength of its animated predecessor.