Some of it is so predictable you could set your watch by it, but there is a welcome (and surprising) layer of complexity running through the film that makes it a little bit more than your standard fare. The likable and funny ensemble helps too.

Padre Pio is a therapy session for star Shia LaBeouf, intercut with a story of labor strife in a traumatized Italian village. If that sounds weird, it is, but never in a way that's consistently interesting.

Ultimately, The Woman in the Window offers a lot of build-up, a lot of possibility. But the revelation of what’s truly going on here is anticlimactic—the equivalent of closing the curtains and turning away from the window with a disappointed sigh.

Michael Chiklis doesn’t get to inject nearly enough humor as Coach Lad’s more demonstrative assistant.

Writer/director Tiller Russell doesn't directly ask us to take a side in Silk Road, a dramatization of the creation and downfall of the eponymous darknet website. But the implications of which side the filmmaker wants us to lean toward are strong—and feel a bit disingenuous.

Within the muchness of it all, there are both occasionally thrilling moments and too little in terms of substance.

I’m not even going to discuss, in detail at least, the elephant in the ideological room that Passengers inhabits, which is its spectacular sexism.

The moving parts of this thriller are subservient to nailing plot points down on a bulletin of perfectly wound red twine. On account of this, “The Woman in Cabin 10” entertains enough to pass the time, but certainly doesn’t thrill.

The main problem of Monster Trucks is how content it is to take its sweet time before shifting into high-action gear.

While this remix of "House Party" may leave some nostalgic for the original, it smartly doesn't try to copy the first film. However, it does stay true to the first version's celebration of friendship.

This could well be the single most implausible film playing at your multiplex this weekend and bear in mind, "Mr. Peabody & Sherman" is still in release.

The Mexican film now has a Hollywood remake, one that adds new elements to the story but is less coherent in its message.

Before I Go to Sleep is a movie with nothing to hold on to but a paper-thin mystery with really only one of two possible suspects in the end.

If A Nice Girl Like You would have stayed the course of the book it’s based on, Ayn Carrillo-Gailey’s 2007 memoir Pornology, it might have been an interesting enough premise. Instead, Andrea Marcellus’ screen adaptation whitewashes the main character and moves the narrative into a more conventional territory, one centered on love over lust, tame over the risque.

This bloated, unfocused follow-up—which was tellingly crowd-funded by fans and then released by Fox Searchlight—takes all of the charming goofiness of the first film, and runs it deep into the ground with gags that either over- or under-think these stock characters' original appeal.

Bell's performance is the best reason to see Raze.

The Hollow Point is such a shameless and indifferent recycling of Nihilistic Crime In The New American West clichés that it feels like it was crafted by committee. A really lazy committee.

Can you recommend a horror movie based on its impressive meanness? Meet Nicolas Pesce’s new and improved take on The Grudge, which is often as nasty as you want it to be, its cheesy jump-scares and generic packaging be damned.

Shelby Oaks is a film that plays like a checklist of clichés, a movie that so aggressively employs techniques we’ve seen work better elsewhere that it becomes almost numbing. Horror fans don’t mind familiarity, but not if it feels like the echo is all there is to listen to.

The Forgiven consequently only succeeds as an ugly, empty-headed provocation.

They don’t make movies that seem to purposefully waste the talents of current “SNL” stars much any more. Well, except for this one.

To his credit, the writer-director maintains a pretty decent balance between his disgust with this Business We Call Show and the movie’s thriller mechanics, which are not entirely well-engineered but do chug along to a not-unsatisfying climax.

Yes, great musicals have been built on “the power of love” before. But pulling that off requires something this movie never has: a heartbeat.

The entire cast is excellent, including a surprise Filipino guest star. It's a pleasure to see their jubilance in bringing their culture to screen, which shines even in the script’s weakest moments.

Through it all, a few performances actually increase the disappointment, for one wishes they were in a better film. Leo is perfect casting as a woman whose acerbic personality helped define her.

An exhausting slog through overly familiar cliches that is nowhere near as profound or touching as it clearly thinks it is and is utterly lacking in the kind of intelligence and artistry that it so often pays lip service to in the dialogue.

This is three movies in one, each of which is progressively worse.

The balcony scene takes a tumble. This is movie's greatest disappointment. Really, if you can't get this right, then why even do Romeo and Juliet?