A clear case of a narrative running out of steam. Exhaustingly repetitive, this movie attempts many of the same things its predecessor did but with less succes.

The inevitable sequel, arriving three years later, isn't as giddily entertaining as its predecessor but much of the charm remains, making this an ideal destination for a family excursion.

There's no debating that Bad Words contains some big, politically incorrect laughs. The movie isn't awash in them but there are enough to keep the chuckles coming. The film's problem is that, despite obvious aspirations to be more than just a profane joke factory, it never fulfills its dramatic ambitions.

Divergent is less action-oriented than "The Hunger Games" but no less compelling.

Director Scott Waugh’s intention may have been to elevate my pulse, but the only thing at which he succeeded was getting me to check my watch repeatedly.

Kristen Bell shines as Veronica, playing the character as a more mature version of her TV persona.

It's not as endearing as "Moonrise Kingdom" but not as tedious as "The Darjeeling Limited." It offers an engaging 90+ minutes of unconventional, comedy-tinged adventure that references numerous classic movies while developing a style and narrative approach all its own.

For a movie that features so much naked flesh, it’s surprising how thoroughly un-erotic Nymphomaniac is. If intent is a defining characteristic of pornography, then this could be described as “anti-porn.”

The film has a nihilistic tone and its gallows humor may turn off more viewers than it seduces. Not since "Killer Joe" has a film exerted this mix of attraction and repulsion.

The lack of a creative driver behind the film leads to a level of fundamental dissatisfaction. The movie delivers all the necessary elements but their impact is dull.

A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.

Non-Stop plays like what might happen if Michael Bay directed a screenplay developed for Alfred Hitchcock.

It’s artificial, annoying, and boring.

An effective period piece thriller that incorporates love, lust, desperation, and madness into a stew thickened by a gothic atmosphere.

Pompeii is a big, glorious, cheesy mess.

On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.

A rare remake in that it's sufficiently different in the details to make it of interest to those familiar to the earlier endeavor.

Jose Padilha's Robocop reboot does some of the things a good remake should do: it retains the central ideas and themes of the original while updating and rearranging the narrative to lose a derivative feel.

This is truly a movie that children and their parents can both enjoy for different reasons.

Certainly, the story told by The Monuments Men is worth telling and it's easy to see why a luminary like Clooney would be sufficiently attracted to want to direct it. Unfortunately, this treatment, written by Clooney and long-time collaborator Grant Heslov, isn't the best fit.

Kids for Cash may not be inherently cinematic (a lot of the footage, after all, first appeared on television) but it is compelling.

"Labor" isn't just a word in the title of Jason Reitman's new film, it's a description of what it feels like to sit through the movie.

It's the Judd Apatow syndrome and there are times when the blend of romance and raunchiness threatens to curdle. In the end, however, the "love conquers all" mentality wins out.

Sadly, as apt as comparisons to "Underworld" might seem, I, Frankenstein can't even clear that very low bar.

The questions posed by Like Father, Like Son are universal in nature and the manner in which Kore-eda addresses them makes for superior drama.

At its best, Ride Along is tolerable. At its worst, it borders on insulting.

Jack Ryan: Shadow Recruit provides the best motion picture adventure for the title character since his introduction in "The Hunt for Red October."

One of the singular pleasures of films like The Invisible Woman is the window they offer into the lives of deceased authors who are known primarily to modern audiences only through the words they committed to paper.