Killers is the most gorgeous-looking torture porn film I have ever seen — and has a couple of tremendous action sequences. But it is also thoroughly disgusting.

De Palma seems to be trying too hard to make somebody else's great movie, once again an Alfred Hitchcock movie. Would someone please tell this guy to relax?

It's a well-meaning but ultimately feeble and misguided attempt to say something profound about the aftereffects of the 2001 attacks on New York.

You've probably seen this movie before, watching a child play with his toy Hot Wheels cars after eating multiple bowls of sugary breakfast cereal.

The movie's promise -- to provide a balanced argument -- goes unrealized, and all we're left with is the spectacle of an idiot bullying a genius.

A lightweight and sentimental exercise that succeeds at little except maybe inspiring the viewer to go out and find a decent curry.

The real problem with This Is 40 is its lack of truth, that Apatow wanted to express something about married life, and it eluded him. After all, no less than Kierkegaard once said that the actual dynamics of marriage are beyond the scope of art, and he was the best movie critic of the 19th century.

The last 15 minutes finally get it together for what passes as a movie experience with a considerable "gotcha!" quotient.

With “After Yang,” the distinctive filmmaker Kogonada has made a movie that is at once ambitious yet timid, asking big questions but providing no answers, not even clues. It’s a thought experiment, but a thought that meanders.

Vantage Point has nothing going on. There's no artistic, philosophical or even jolly entertainment reason for adopting this strategy. It's just arbitrary, a gimmick.

Spending an hour and a half inside a uterus might be more entertaining than this tiresome sequel.

There are chase scenes and car pileups. This wasn't fresh in 1980. It hasn't gotten any fresher.

At 88 minutes, Minions: The Rise of Gru struggles to find enough story to encompass its run time, ending up feeling substantially longer as a result.

In the early going "Wild Bill" looks interesting -- an audacious wallow in violence and Western legend. Then 20 minutes in, writer-director Walter Hill puts his cards on the table. It's a dead man's hand.

The opening to John Carter is a dud, a battle between airships made of woven bamboo, bursting into computer-generated flame over a sandy terrain. There's nothing to see, nothing to think about, nothing to care about, and nothing to feel, just emptiness. The emptiness is never filled over the course of 132 long, barren minutes.

Kang is so over the top and jumbled in his storytelling, this could be his Michael Cimino ("Heaven's Gate") moment.

Unfortunately, by the time the movie gets around to the parts that might have dazzled us, Emancipation already lost its audience.

The fifth entry in the John Rambo series is called Rambo: Last Blood, and we can only hope that’s a promise.

Incidentally, this is an Ang Lee film, though, beyond the first-rate production values, you wouldn’t know it. Lee seems happy that he has embraced technology, but what’s the point if the technology is in the service of an empty exercise? He has made one movie like this and doesn’t need to make another.

Zoom is a C-list production in every possible way, from the actors and the special effects to the music and the script. Even the product placement is completely third rate.

There's nothing particularly wrong with A Kid in King Arthur's Court and nothing right with it, either. Parents will take their kids to see it and suffer, but the pain is mild.

It's a big disappointment.

Cast adrift in this aimless movie, Ahmed seems lost. His performance is one in an unfortunate tradition of weepy Hamlets, and his problems are compounded by the fact that his weepiness is unconvincing. Each time he teared up while delivering a soliloquy, I felt that he was trying to sell me a used car.

Convoluted.

The film Cirque du Soleil: Worlds Away highlights both the strains of the franchise and the willingness to promote the brand at any cost - including a coherent narrative. It's a big promo reel, and not a carefully disguised one.

Why Lopez decided to do this inept, cliche-infested film is anyone’s guess. She may be an actress of limited range, but her work includes solid movies like “Selena” and “Out of Sight.” Unfortunately, Lopez’s resume now includes this stinker. And we’re all the dumber for it.

From watching this meandering, stilted movie, anyone unfamiliar with Charles Dickens' novel would be not only disinclined to pick it up but also clueless as to why it's considered great.

The Nutcracker in 3D will be barely recognizable to fans of the beloved holiday classic. Imagine watching Tchaikovsky's ballet after taking a handful of peyote - on a day when all of the dancers call in sick and the orchestra decides to play a different set of the composer's works.