The plot’s central mystery suffers from “Body Double” syndrome in that the movie has so few characters that the villain’s reveal can only elicit a shrug.

It’s a harmless animated adventure that will provide a bland diversion to young viewers.

There are some good ideas in the film, albeit a bit obvious ("why can't we all look past our differences and get along?"), and albeit done much better in other films (primarily "The Visitor").

Like so many horror films in recent years, V/H/S/2 appears more lightweight the more it tries to impress with its inventiveness and grotesquerie.

The car chase thriller Getaway has a wild premise and few good moments, and if there were an Oscar for wrecking police cars, it would absolutely win.

It brings me absolutely no joy to report that The Marvels is terrible, and the worst film yet in the Marvel Cinematic Universe.

Between the eye-catching period details and the warmth of the performances, you want to wrap your arms around “The Supremes at Earl's All-You-Can-Eat.” But this is a film that seems intent on pushing you away through its ludicrous plotting.

As conventional and stiff as Max Rose itself is, Lewis’ performance in it is full of virtues: he’s committed, disciplined, and entirely credible.

Much like “Self/Less,” Amnesiac feels like a director-for-hire gig for an artist too talented for the job.

Though millions of Jewish people were imprisoned and killed in concentration camps during this time, this misguided drama, written by Ilya Tsofin, isn’t interested in the truth of their stories. Instead, it’s a contrived triumph of the human spirit-style narrative where the Jewish character at the center is rendered a cipher for suffering while his Nazi tormentors are unconsciously humanized.

It goes soft and nice and wants us to care about these characters who barely resemble human beings. After all, it’s Christmas. But everyone involved here should have asked Santa for a stronger script.

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.

Disappointing because its creators don't do anything interesting with a fairly novel theme: a mother's possessive love for her estranged daughter.

I Declare War is like high school English class, rife with confusing symbolism and full of sound and fury that ultimately signifies nothing.

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.”

Leaning toward unrelenting shock, “Newborn” as a whole becomes something worse in the process: dishonest.

The Boy Next Door has its share of so-bad-they’re-good moments – and details, and chunks of dialogue – but not nearly enough. Mostly, they’re just bad. And it had such potential too, starting with the casting.

The movie’s flabbiness, its unfocused flopping from scene to scene, its disinclination to provide any individual scene with any dimension beyond its immediate impact, practically vitiates the entire theme of Dickie’s ostensible mentorship of Tony Soprano.

I Am Woman is a start in the right direction. However, based on this film you might think that the most interesting thing about Reddy is that she married her manager who then got addicted to cocaine. It's a frustratingly shallow approach to a singer who deserves better.

It takes some chutzpah to name your siege thriller Dangerous, and unfortunately, there’s not enough of it in the Scott Eastwood actioner of that name.

Viper Club is being released by YouTube Original Films, which is appropriate because it looks like it was shot and framed for the tiniest YouTube window possible. This is an ugly looking film filled with headache-inducing, shaky close-ups and questionable editing.

Playing namby-pamby is not Sam Rockwell's strong suit.

Strange Magic is essentially a jukebox musical so song-laden as to practically be an operetta, and the songs are so eclectic that they never quite fit into the movie’s flying-insect world, which is divided into dark and light forests.

Director and co-writer Jessica M. Thompson establishes an unsettling mood that suggests we’re about to enter a dark and twisted world. But then eventually, her film is just dark – as in, it’s hard to see what’s happening, with herky-jerky visual effects that are especially off-putting. And when the twist comes as to what’s actually going on, it’s like: Really? That’s it?

Has a lot of good ideas and a few engrossing sequences, but it never quite finds a groove, or even a mode, and it ends in an abrupt, unsatisfying way.

It’s not surprising that Janney is easily the best thing about Lou, but watching this talented actress give so much to a movie that gives absolutely nothing back starts to get depressing.

Pistorius does solid work throughout in expressing various states of panic, but she’s mainly reacting to Crowe’s improbable omnipresence.

It's one of the year's most convoluted original screenplays, but is probably best taken as a test in plot summarizing.