The Escape of Prisoner 614 is (at first, at least) an amiable comedic shaggy dog story in which inept law enforcement meets corrupt law enforcement.

In fact, very little here is special, despite the individual charms of Evans and co-star Alice Eve.

The problem is there's not enough sex and too much ... everything else.

“Rebel Moon” often looks more like an animated pitch for a movie than an actual movie with human characters, urgent drama, emotional stakes, and so forth.

That’s all you’ll get in Death of Me, a movie that takes a fresh idea and decides that the best way to present it is through tropes and clichés from better films.

This isn't a real horror movie — this is the kind of horror movie that the characters in a real horror movie watch in order to comment on the lameness of the genre before their authentic terrors begin.

The message about never confusing kindness with weakness is a valuable life lesson and a reminder of why the Smurfs are so enduringly beloved.

If nothing else, Teenage Mutant Ninja Turtles reminds us that nostalgia is often used as a mandate for spectacularly lazy filmmaking.

Even if you can accept that there's nothing inherently wrong with being a little misanthropic in the right context, you'll probably find that Murder of a Cat's mean streak isn't wide enough.

More important than the washed-out blue-tinged rooms, bleached white interiors and sun-blasted sea and sand is Cruz, who single-handedly breathes a sense of genuineness into this maudlin exercise even if she can’t cure all of its flaws.

Countdown pretty much fails on every level that a horror film possibly can — the characters are uninteresting dullards, the story is idiotic, and the scares are nonexistent.

Even by the low standards of this type of live-action, family friendly comedy, Show Dogs is especially lame. It’s actually kind of amazing that it’s getting a theatrical release at all.

There are, to be sure, moments of shock. But they offer very little awe.

The storyline is complicated but not particularly engaging. There are elements that are too arcane or unsettling for children and not of any special comedic value for adults.

The new Death Wish is a vigilante film that's also about vigilante film cliches, when it remembers to think about such things, which is only occasionally. Most of its attempts to subvert or freshen up familiar elements aren't well developed, and they're certainly never strong enough to counter the bloodlust and gun worship that's invariably going to power this kind of project.

Somehow, the film’s 1674 is more convincing than its 1969, and the ideas being worked out in that brief segment are more compelling than the ones that make up the core narrative. But then it’s buried, and it doesn’t come back. Pity, that’s one time when resurrection would have been helpful.

Only the commitment from the always-solid Michael Ealy saves it from being one of the worst movies of the year, although just barely.

You will never realize how much you need Guillermo del Toro in your life until you see the reboot of “Hellboy.”

Alternately idiotic and boring horror thriller.

Pair Fathers and Daughters with a bottle of wine and a friend on a rainy night, and it will work just fine.

"Unnecessary Roughness” is a more apt title for the scuzzy serial killer procedural Night Hunter.

A cheapo “Seven” knock-off that one would be tempted to suggest is beneath the talents of everyone involved, but they knew what they were getting into when they read it.

One of those paint-by-numbers romcoms that feels like you might have seen it a dozen times before.

While this kind of manipulative melodrama is often easy to dismiss, what makes The Starling even more frustrating is the amount of talented people who got sucked into its spin cycle of sadness.

The bar is just so low, people. It’s just hovering there above the ground.

All of the personages in this slight movie are relatively one-note. It’s a shame that actors as searching and scrupulous as Strathairn and Keener are so ill-used.

A movie with a don't-think-too-hard-about-this premise can work if it sustains its own logic. It doesn't have to hold together in our world, so long as we believe it will hold together in theirs. But Inheritance is the case of a film that's so full of holes, it was likely recut from an earlier version and not quite stitched back together. Still, it just qualifies as watchable due to its nutty premise, sumptuous settings, and a couple of dynamic confrontations.

The ensemble cast members all dutifully perform their roles, but there’s not much for them to sink their teeth into.