Now, Diaz and Segel co-star for Kasdan again in Sex Tape, but their characters are so indiscernible as actual human beings, it’s hard to tell who they are, much less whether they have any sort of enjoyable, raunchy chemistry.

The wolf and the lion make a great team; the humans and the script do not.

There’s so little “fun” here, feeling as if everyone is merely fulfilling an obligation. I was excited for another time jump movie with a twist. After this one, I just wanted my time back.

There’s a rather disturbing sense of privilege in After the Fall. It can’t help but justify Ben’s actions by stacking the deck against the victims.

How It Ends had me thinking about endings in general. How it felt like the close of this film would never come. How we so commonly return in cinema, especially lately, to visions of the end of the world. How the actual ending of this film is an atrocious cheat. Trust me, you’re better off not even beginning.

To begin with, the very premise feels off. Peter Pan isn’t a superhero and doesn’t really need an origin story, especially one that opens at a London orphanage for boys during the Blitz and borrows heavily from the “Oliver Twist” handbook.

This cast of old pros may not be up to flips and basket catches, but they keep things lively. Keaton is as radiant as ever and Weaver is clearly having a blast.

The film tries to pack in a little bit too much in its running time, and there isn't a comedic moment until well into the film, a strange choice in a movie for kids, but The Wild Life has its moments of charm, hilarity, and slapstick that worked really well.

Unlike the actual video game, Assassin's Creed isn't ridiculous and fun, but rather ridiculous and turgid.

What’s mostly lacking is a matter of character-enhancing detail, the kind that would better integrate the movie’s high-concept thrills with its heartstring-tugging melodrama. Soapy’s not bad, but “This is Not a Test” lacks the sensationalism or sensitivity to make it more than a wan misfire.

One of those increasingly depressing affairs, like watching air come out of a balloon. You start to feel bad for everyone involved, even the man responsible for it all, Ricky Gervais.

The directorial pyrotechnics keep Solace from “dragging” in a narrative sense; the very real boredom it nonetheless elicits is more existential.

At the very least, the makers of That Awkward Moment should get credit for savvy casting.

One doesn’t need perfect vision to quickly surmise that this sudsy affair among Manhattan swells is a glorified Hallmark Channel melodrama.

It’s a flat-out disaster, the kind of film that its cast and crew hope gets buried as quickly as possible as they race to move on to other projects.

It would have been one thing if Alone with You at least worked as a genre outing on some level. It doesn’t—the film’s chills and scares are nearly non-existent; plot, stretched to the seams, unable to sustain a feature's length; and camera work, amateurish.

The kind of meat-and-potatoes genre picture that might be passable if the people involved in making it had given the same thought and concentration to the development of the plot and the ending as they did to the fairly involving set-up.

It is all very terribly tiresome.

Nothing nearly so wacky or grotesque goes down in this romantic thriller, but you’ll wish it would.

Let’s look on the bright side. The running time is barely 90 minutes. And there are but three fairly amusing characters who save this inferior attempt at family entertainment, at least for me.

Wayans has always been an underrated physical comedian, and the movie works best when he’s allowed to unleash that side of his persona, but that’s too rare and not enough to rescue the rest of this comedy ceremony.

Ultimately, no one could save the script by John Whittington, who relied so completely on his concept that he failed to write jokes or characters.

Still, there is more pleasure to be had in the dwindling returns of CMT's “Nashville” than in this country soap-opera.

What Hawley has delivered is a garden variety bad movie, proving the TV wunderkind of “Fargo” and “Legion” was not quite ready for the big screen.

Take away the noise surrounding it, and Sound of Freedom has distinct cinematic ambitions: a non-graphic horror film with what could be called an art-house sensibility for muted rage and precise, striking shadows derived from an already bleak world. If “Sound of Freedom” were less concerned with being something "important," it could be more than a mood, it could be a movie.

Believe it or not, Action Point in 2018 feels too safe. There’s way too much plot and even the stunts that gave Knoxville concussions feel routine. It’s not unlike seeing a once-great athlete attempt a comeback. There are flashes of what once worked, but it’s also a little sad.

Best Man Down is billed as a "warm and funny comedy," a subjective description with which I do not agree. I would not consider this a comedy, let alone a warm and funny one. There are no laughs, and most attempts at humor are mean-spirited or embarrassing.

Whether you're new to Inside or a fan of the original, the change that Vivas and his team do make to the ending will leave you scratching your head.