A tedious and only occasionally amusing comedic riff on “The Purge” franchise.

The narrative outline of Self/less is a philosophical theme park, readymade for daring, complex filmmaking. And Singh and his writers never go on any of the rides.

Wahlberg should not be cast in any role predicated on the idea that he’s good with words and ideas. Hauser is one of the best actors in the English language and will escape this disaster and do more great work, so there’s that.

Here is a film that pays lip service to the importance of creativity without ever displaying a demonstrable shred of it during its seemingly interminable run time.

This is a modestly scaled B-movie by one of the best genre filmmakers of our time, Walter Hill, that has enough skill and personality going for it to make it worth checking out, even if it doesn’t quite live up (or down, depending on your perspective) to its borderline sleazy premise.

A wildly inconsequential action comedy that contains a couple of genuine laughs but which otherwise feels like an extended version of its own television ads.

There are moments of tenderness and honest human emotion buried in the frustrating A Long Way Down but one has to work far too hard and give far too much credit to the over-qualified cast to grab at them.

Yes, it's all as clunky and tasteless as the description suggests, and the awkward casting doesn't improve this overlong drama.

While the performances are stronger and the narrative is more coherent than you’d see in a “Madea” movie, for example, Perry’s latest still features many of the auteur’s trademarks: dizzying tonal swings, awkward blocking, drab lighting, jarring edits and a mixture of the salacious and the puritanical.

Whatever difference Zada's relatively minimalist approach to scenes might make, it does not outweigh the overarching feeling that the movie falls into a predictable, repetitive routine.

Its narrative and visual approach almost suggests a compendium of the clichés one should avoid in a film like this.

For the most part, A Farewell to Fools rollicks along on its own bizarre and not successful path, comedic moments falling flat, emotional moments running shallow, but in that moment we can feel something else striving to break free.

This isn’t just a mediocre movie — although it is most definitely that — it is a wasted opportunity to fulfill the promise of that opening line from 35 years ago.

While most other films sprint through expository dialogue, and bluster their way through action scenes, The Last Witch Hunter is measured enough to make you want to suspend your disbelief.

The Color of Time has considerable ambition, but no inner life.

Sleepless is one of those movies that needed to be a lot better or a lot worse to make much of an impression.

No one needs a paycheck this badly. This goes far beyond the one-for-me, one-for-them theory of role choices.

To be honest, the film does not exactly make a convincing case for the idea of Berlin as a hub of passion, or really for its existence as a movie.

If you love rape jokes, Get Hard is your movie.

What exerts an odd fascination here is that each character heartily embodies a different variety of solipsistic creep; you start feeling sorry for the creators of the movie for having to live among such awful people. Then it dawns on you that the film’s creators don’t find these people awful at all — they find them normal. Terrifying, really.

This film is so smug and self-satisfied that you can practically feel the contempt everyone involved with its production has for its audience.

By and large, "Dear Santa" feels as if someone took a Diary of a Wimpy Kid book and added some truly weird Satanic mythology.

Kevin Pollak's raunchy comedy The Late Bloomer is merely cheesy and horny, but rarely amusing.

Watching Douglas behave like a narcissistic scumbag is an absolute pleasure, one in which viewers of action-adventure Beyond the Reach can happily indulge.

The movie’s off-putting and constantly foregrounded political agenda wouldn’t be so unpleasant if the action scenes were more plentiful and/or thrilling. They aren’t.

The movie comes to life any time the actors are given space to mess around. It's just not enough to hold the whole thing together.

Not even the able actors that Glanz somehow managed to rope into his project can do much with the draggy story and the vapid characters that they have been given to play.

While "Red One" may scratch at some interesting ideas about lamenting the world's cruelties, it lacks the narrative depth and commitment to fully explore its angst.