The end result is a sturdy and frequently dazzling version of the material that should leave audiences swooning with delight.

Novel enough to be worth the price of admission, but you'll think twice before getting back in line for a second visit.

Koontz’s command over the material is so absent that it is at times hard to distinguish his film from a spoofy Western-themed fair where a group of friends play dress-up for amusement.

The Gunman isn't the worst action film that you will see this year — you will be lucky if you even remember anything about it a couple of weeks after seeing it — it will probably go down as one of the more dispiriting ones.

The movie ambles along amiably enough for a while; it’s better if you are a fan of one or more members of the cast.

It's ambitious, but with such hand-holding dramatic direction and a dreary visual palette that never creates terror out of random corn stalks, it couldn’t be more dull.

Three Christs opts in for frustratingly broad characters that feel like half-considered caricatures and Jeff Russo’s sentimental, strings-heavy score that flattens whatever modest edge the movie might have had.

Trouble is, Cassavetes — working from a script by Melissa K. Stack — veers wildly between cautionary tale, revenge comedy, scatological raunchfest and female empowerment drama.

The film runs out of ideas so quickly that Atkinson literally resorts to dropping his pants to get a laugh from his saggy bare bottom.

McCarthy is aggressive and foul-mouthed while Sarandon is sensible and laid-back. And they’re clearly destined for trouble, which leads to solid if scattered laughs.

It is a movie of moments. But some of those moments are so good, its optimism is so refreshing, its dialogue so bright, and its characters and performances so endearing, it well rewards a watch.

The Bieber fans aren't going anywhere. And Justin Bieber's Believe is best when it shows us why.

Emperor is lousy in the same way that many other mediocre slave narratives are: it re-presents a dark period in American history without being inspired or insightful enough to be worth your curiosity or emotional investment.

Those who go to see “Dead Men Don’t Tell Tales” might just recognize that hollow feeling as they leave the theater.

It’s an emotionally manipulative, overlong dirge composed of cloying songs, lackluster vocal performances, and even worse writing.

Meh and double meh on this movie. That's my story and I'm sticking to it.

Divorce Corp is directed and edited at roughly the same level of imagination as a network newsmagazine story: talking head, talking head, talking head, cut to a chart, exterior shot of a courthouse, cut to another chart, talking head.

A well-meaning and sometimes interesting effort written and directed by brothers Jeff and Michael Zimbalist.

Antoine Fuqua might’ve had some cameras and microphones on hand to produce moving images and sound for this estate-approved King of Pop biopic. But make no mistake about it: “Michael” isn’t a movie. It’s a filmed playlist in search of a story.

At a scant 84 minutes, you’d think it would move fast enough to make you forget its massive lapses in logic in favor of chills and thrills. Alas, that’s not the case here.

The dream — or the drug-induced hallucination, or whatever this is — can only last for so long.

Like a magpie, it takes bits and pieces from better films and cobbles it together with some paper-thin characters into something that is a movie in definition only.

Jettisons everything that’s honest and worthwhile about the books in favor of hackneyed misadventures and gross-out scatological humor.

It has all the gloss of a Pottery Barn catalogue and all the depth of a "hang in there" greeting card, but if you are in the mood for a sad story about very attractive people learning to get the most out of the time they have, it will do.

Like a bad '80s flick, Stage Fright, could have been so much fun.

You don’t get entirely skilled comedy from the Impractical Jokers, but you do get to see four guys who have turned forcefully messing with each other into a welcoming, idea.

The couple doesn’t quite light up the screen with their chemistry, and the writing feels much too basic, given these are meant to be characters in a literature degree program. Thankfully, there are moments of levity, a number of cross-cultural jokes, and supporting characters to lighten the mood.

This movie's makers haven't met a formula cliché that they don't like.