The movie is pleasingly vulgar and, although there's no nudity, the whole thing is about sex.

Finally - a superhero movie that doesn't feel like every other superhero movie.

It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.

In R.I.P.D., we have a legitimate train wreck of a motion picture: a film that doesn't work on any level. It's not funny. It's not exciting. It's not engaging. It's a waste of time and money.

The film has its charms but the end result feels like warmed-over James Bond… and not even especially good 007, at that.

The pervasive aura of creepiness more than compensates for the low body count and inventive use of sharp instrumentation.

It's funny, affecting, and appealing, and more worthy than much of what's out there. Often, coming-of-age stories rely forcefully on formulaic narrative developments but The Way Way Back remains fresh from start to finish.

There's not a single original moment to be found in Pacific Rim's 130-minute running time, but that doesn't much matter because the familiar beats are conveyed with maximum expertise intended to provide a visceral experience.

Despicable Me 2 provides a good bonding opportunity for parents and children with enough palatable elements to please members of both generations.

Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.

This sloppy mess also pales in comparison to the better-paced, taut "Olympus Has Fallen," which represents 2013's better White House invasion story.

A charming, family friendly endeavor and, although it falls short of the best Pixar has brought to the screen over its long association with Disney, it's nevertheless worth a trip to the theater, especially for kids.

The screenplay feels like the culmination of all sorts of things being thrown against a wall to see what sticks. As it turns out, there's not enough.

Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.

Man of Steel is, first and foremost, a great spectacle.

By the time September arrives, This is the End will probably be in the running for "funniest comedy of the 2013 summer."

This is quite possibly the most moronic motion picture I have seen thus far in 2013 and that's saying a lot.

Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.

I didn't feel strongly one way or another about The Kings of Summer. It's too innocuous to actively dislike but there's nothing memorable here. The characters are bland; the comedy, while occasionally eliciting laughs, is lukewarm; and the relationships never gel.

The sad truth about After Earth is that not only is it difficult to find things it does well, but there are numerous examples of outright incompetence dotting the landscape.

It's a little along the same lines as "Ocean's 11" in what it achieves and, like that film, there's plenty of Oscar power among the actors - a combined 15 nominations, to be precise.

"Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.

Generic and forgettable.

"The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.

It's a rare and powerful thing to confront something honest and real on the big screen. It stays with you in a way that nothing else can. Before Midnight is fiction but it might as well be a documentary.

The special effects are first rate - not always the case with Star Trek movies, although Abrams has been given a budget the likes of which directors Nicholas Meyer, Leonard Nimoy, and William Shatner would have salivated over.

Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation.

It's an unsettling piece that reminds us how even monsters aspire to living the American dream.