One of the many problems is that Logan can’t find the tone, making something campy in one beat and deadly serious in another. The whole film falls in the valley in between, unable to find any identity at all.

The Burning Sea may ultimately be too uptight for its own good, but there’s enough here to satisfy disaster aficionados who’ve already been here before and only really want to root for more of the same.

And while I understand the anger that animates Awbrey’s script, anger doesn’t excuse its overall weak argumentation, not to mention its rampant plot holes.

The film’s cinematography is the best thing about it. There are solid performances, some believably purplish dime-novel dialogue, and other compensatory pleasures, but “Rust” is a saddlebag full of scenes and moments borrowed from great Westerns and embellished.

A lot of people are not going to like Destination Wedding, because the characters never shut up and complain all the time. But I thought it was a hoot. Winona Ryder and Keanu Reeves, in their fourth film together, are clearly having a blast, and they won me over.

Black Water: Abyss is one of those movies that isn’t particularly good but may not have to be if you’re in the right mood.

God will bless us, everyone, if the inevitable next "A Christmas Carol" is better than this one.

So preoccupied with giving its star's wish fulfillment fantasies that it forgets to make sure all the other major characters seem like characters, rather than underdeveloped notions.

So, if the couple at the center of this romantic comedy lacks chemistry, can you at least enjoy the scenery or the retreat’s resort? Unfortunately, this is not “White Lotus.”

Lacks sufficient inspiration and follow-through to be truly exciting.

The problem — and wow, it's a big one — is that none of these actors have material firm enough to shape into a bona fide performance.

This all sounds like it could make for a fascinating movie. But The Devil and Father Amorth feels at once bloated and slight, like a DVD supplement puffed up to feature length (an hour and eight minutes, just long enough to be exhibited in theaters as a stand-alone title).

Samaritan proves, to paraphrase Tina Turner, that we don’t need another superhero.

Olympia has the usual biographical documentary structure, though it's a bit of a hodge-podge, following Dukakis to a festival, a rehearsal, awards events, at home, intercut with archival footage and comments from friends, colleagues, and family.

As ambitious and vibrant as it is ugly and scattershot, Pain & Gain is the most charming Michael Bay movie in a long while.

Director Bobby Farrelly’s “Driver’s Ed” may not reinvent the wheel, but by playing squarely to its middle-of-the-road strengths with a young cast clearly aware of the type of movie they’re in (it embodies the spirit of those early 2000s “friends hang out and go on an adventure” films), it’s still a trip worth taking.

It's often painful, and not in a good way; it's painful because of the roads it doesn't explore, the shortcuts it takes, and the special pleading it can't stop itself from indulging in.

Odd Thomas becomes a film that's going through the motions with too little character, style, or atmosphere to keep it engaging.

The film is cliched and phony, the coincidences beggar belief, and the human relationships come from a very tired playbook.

The final act of Coldwater is horrendously misguided, the kind of insincere melodrama that erases the memory of what came before. It’s a particular shame because there’s an hour of decent filmmaking here.

The supposedly original script from writer Zach Dean offers very little that’s innovative or inspired.

An action film, a spy thriller, a meditation on revenge, and a story about mentors and pupils, but mostly it's a movie that loves to maim and kill people and is very good at it.

I’m upset because he’s doing such cheesy wire work, and because the CGI effects he’s interacting with are so lame.

Most of the power of these moments comes from our strong feelings about the issues, not from what we see, as the screenplay is superficial and manipulative.

Locked starts promisingly, and then almost refuses to really go anywhere, trapped by its own concept and unwillingness to do anything thematically richer than “wealthy people be crazy.”

Though the film’s lachrymose gist is conveyed with subtlety and insight into the rigors of loneliness and mortality, it is lachrymose nonetheless. Fans of “Eleanor Rigby,” in any case, should not miss it.

How is a movie based on a video game more soulless than the game itself? The knock against the world of gaming has long been that they lack a human element, but Ruben Fleischer’s Uncharted feels emptier than the award-winning franchise on which it’s based.

Jason Blum is a powerful, underrated force in the industry, but I wish he would empower his chefs to cook more interesting horror movie meals.