It’s enough to make H.G. Wells roll his eyes as he rolls in his grave.

Corner Office is a sometimes-funny satire stuffed with capitalist ennui, but it bites with dull teeth, failing to provide enough support for its sentiment to stick.

Diane Kruger is as inscrutable to us as she is to her fellow Mossad agents and the asset she seduces in The Operative, a solidly crafted if forgettable espionage thriller.

It is over-plotted, with three different storylines mixing comedy and adventure.

Wirkola stages a few excellent set pieces and Rapace is fantastic, but the general lack of entertainment value has to be considered disappointing given the potential of the entire piece.

The movie, directed by Robin Pront from a script by Pront and Jeroen Perceval (who’s also one of the film’s lead actors), is well-crafted up to a point. But the end to which it is crafted is utterly useless.

There's an overall lack of thoughtfulness in The Nun II regarding scares, and Chaves is vehemently loyal to oversaturated tropes. The movie starkly neglects creativity and, in turn, lacks effective fear.

A spectacularly foursquare “family is what you make it” redemption story. The kind of thing that film critics like to dismiss as “looking like a made-for-TV movie,” as if that comparison/analogy even holds as a dismissal anymore.

Writer/director Barnaby Clay successfully keeps viewers on our toes, even if a lot of his movie feels like a series of programmatic jabs at our complacence.

If you love the “what the hell, let’s try it” sensibility that the Legendary Pictures monster franchise has embraced thus far, you’ll still find plenty here to enjoy. But it shouldn’t have been necessary to go looking for it.

Open Windows goes from crazy to Crazy to CRAZY, but maintains enough energy and cultural currency to keep the entertainment value high.

Unfortunately, Lau just isn't charming enough to carry the utterly forgettable The Adventurers, a tepid remake of John Woo's already lame heist flick "Once a Thief."

The script tries to do way too much, but the film also moved me quite deeply a couple of times, mostly in the scenes between father and son.

Did I like The Seven Faces of Jane? I love the idea of it, I love that it exists, and I'm not sure how much I can ultimately say for or against it, considering that everything good and bad is baked into the methods that the performers and filmmakers committed to.

Common Ground is a well-meaning PSA that waters down the complex history, practices, and systems of American industrial agriculture into something palatable for audiences looking to feel good about the bleak future of this dying planet without actually having to do any hard learning, thinking, or direct action.

Unlike the recent "God’s Not Dead," which is the "Beaches" of faith-based films in that it embodies every single complaint against its genre, Heaven is for Real attempts to cast a wider audience net.

Despite a truly pained performance from Jeff Bridges and a beautifully imagined, three-dimensional futuristic world, The Giver, in wanting to connect itself to more recent YA franchises, sacrifices subtlety, inference and power.

If this film were a person, it would tell you it had a Black friend and voted for Obama twice. That’s how insultingly simplistic it is about race.

As a gangster film, “The Alto Knights” does little more than putter along, taking in very few new or interesting sights along the way.

Beyond its message and intent, Chandler’s film is a raw and insightful portrait of the psychology fueling addiction, and how the healing of pain and depression must be tackled in a healthy way.

What’s scarier—someone yelling boo or the sound of someone, or something, whispering it in the distance? Blair Witch has plenty of yelling, but not nearly enough that gets under your skin.

[Papushado] creates a world that’s so strange, in both a visually striking sense and one that doesn't always work, that even when a performance sputters out or a line of dialogue rings false, it doesn’t tank the movie. However, that level of spectacle through eye-catching production design and visual style means that sometimes the movie’s vivid colors and bullets outshine the star-studded cast.

Some of the writing gets a bit clunky, the ending is pretty horrible, and there’s a performance at the center that kind of sucks in everything around it like a black hole, but most of that won’t matter to viewers of The Witches: They’ll be too scared to care.

It is less of a horror flick and more of a suspense thriller with sci-fi elements that possesses both brains–some sacrificed in messy fashion, of course–and a heart, as it makes a statement about an imaginary social issue that reflects those conflicts facing our country today.

There are some fun ideas and moments in Dead & Beautiful, but Verbeek seems to want to avoid offending anyone with the suggestion that the rich are vampires—which is the premise his movie is built on.

Umair Aleem’s script is so paint-by-numbers familiar that it leaves you wishing you’d watched one of the better movies it’s ripping off.

Clever-but-frustrating.

Regardless of its shortcomings, Candy Cane Lane is a frenzied family friendly film as overstuffed as a Christmas stocking, as nutty as a chestnut, and, ultimately, as warm as an open fire.