It's not bad. It's cute.

If The Hidden were less obvious, it might have been a zinger of a sci-fi action flick. But this cinematic presentation, now available on home video, is too predictable, and even though wickedly fun at times, it's only halfway as awesome as it might have been.

Succeeds in its modest way because its stars, Melissa Joan Hart and Adrian Grenier, are pleasant to be around.

So the most noticeable thing about the first minutes of Greta Gerwig’s new screen adaptation of the Louisa May Alcott classic is that the women in Little Women seem just a little bit snooty here, more like privileged actresses from 2019 than like a Northern family living in genteel poverty during the Civil War.

Would have worked better if it had stuck more closely to real estate as the source and target of satire.

A kind of film opera without music.

It lives up to its title, flying by in fast motion. Even the first-wave MTV generation may find the pace exhausting, but this piece of fluff wasn't made for them.

Without the sheer watchability of Johnson, Reynolds and Gadot, Red Notice would have been intolerable. It also would have been pointless. But with them, it’s a pleasantly lousy movie that some people, if they look at the screen and squint really hard, might mistake for something decent.

Often amusing but lacks the necessary bite.

A needlessly complicated and confusing thriller.

Josh Brolin plays the leader of the gangster squad as a kind of dedicated dunce, which is appropriate considering their clumsy antics. Ryan Gosling has more nuance as his right-hand man, but Emma Stone is completely out of her element as a slinky film noir heroine, a walking anachronism.

Those Who Wish Me Dead pretty much works on the gut-level way it was intended, but it gets extra credit for being unintentionally funny.

Two good characters and two good performances go into the old poubelle — or, as we say in English, the garbage bin.

Despite moments of unintentional humor, “The Ritual” has an appealing gravity about it, which probably derives from its adherence to the historical record.

There's a good idea behind Repo Men, not a whole lot of thinking, but at least one whole idea.

At first, The Oath looks as though it will be a study of the soul-corroding effects of twisted ideology, but it emerges as the reverse.

Director David Hackl’s biggest credit is Saw V, and he remains adept at gross torture and keeping a mystery moving. Definitely a B production, Dangerous has aspirations. View that as more of a comfort than a threat.

For a documentary about one of the most prestigious opera institutions in the world, The Paris Opera has, maddeningly, very little opera.

Mr. Woodcock may be a nasty tyrant, but he also knows his domain is small. "For Christ's sake," he tells Farley at one point, "it was just a PE class, you fruitcake."

A movie that moves slower than it should and that keeps us detached for long periods of time. Most of the problems can be traced to the script, which does a poor job of establishing the characters and giving us a sense of how they relate to each other.

The final message is a strong one: Even when the starting forward is one of the best high school players ever, basketball is still a team sport.

It’s a well-made film in many ways but also frustratingly skin-deep for a news junkie like me.

The whole cast is likable and the scenery lovely, making this only the second-worst Shields beach movie, after “The Blue Lagoon.”

The first film seemed a fully formed, lived-in world. The sequel leaves Julie on her own; an interior monologue that Hogg, and Swinton Byrne, can’t quite externalize.

Genre movies like “The Fabulous Four” can only be so good, but it’s pleasing enough to do its job.

The comedy is hit and miss, with good bits interrupted by dead patches. It's a movie to root for more than to enjoy.

“Thank You” is flawed, with a structure and pacing that dull the viewing experience, even as the message drives through. It’s a great discussion starter, but not a great finished product.

For all the filmmaker's good intentions, Fast Food Nation isn't a particularly good movie. It doesn't hold together or grip you the way a documentary might have.