What's disappointing about Anonymous is that it isn't dumb enough.

As a movie, Super is unfocused and bafflingly inconsistent. It is also the most genuinely surprising new release I've seen in a long time.

The film is too metronomically paced for Kilmer's routines to develop any rhythm. The direction by Phillip Noyce is fluid but impersonal. Endless studio tinkering seems to have dissolved its spine.

That City by the Sea isn't laughed off the screen is testament to Caton-Jones' attention to actors and to some tightly written scenes.

No Strings wants to be raunchy enough to pull in the dude crowd and snuggly enough to draw couples on dates. Instead, it's an inoffensive bore with occasional R-rated sex scenes that strain for cutesy shock value.

There are enough genuine moments of surprise to make this genre exercise an invigorating one.

Weitz, meanwhile, can’t decide whether the movie should be a political thriller, a relationship drama, or something else entirely, as the actors trudge through expository dialogue with the directness of opera lyrics but without any of the emotion behind them.

In short, Elizabeth Gilbert is the Julia Roberts of writers, which means that the film adaptation by Ryan Murphy (the creator of Nip/Tuck and Glee) got at least one thing right.

Planet of the Apes has been designed and photographed (by Phillipe Rousselot) with real artistry, but in all the ways that matter it's hack work.

A pretty good action flick -- twisty, marvelously acted, and energetically (if not always coherently) staged.

Borderline incoherent, theologically unsatisfying, and short to the point of dwarfism on suspense.

Rebirth’s dinosaurs are everywhere, but the more you see, the less it means. They’re good for a scare now and then, but the sense of awe is long since gone.

The biggest problem with The Hunt is its phenomenally lazy script, which is by Damon Lindelof and his frequent collaborator Nick Cuse. (Booting the movie into the next year prevented Lindelof, who created HBO’s Watchmen, from having his name on one of 2019’s smartest entertainments and one of its dumbest.)

Five years from now, this bland and forgettable throwaway will be remembered only for Breslin, who will by then be a poised and gifted 16-year-old actress.

Directorially, Dedication is a bit of a mess, unable to settle on a tone or visual style. But it leaves you wishing the oddball couple well.

Corny, predictable, and packed with gay stereotypes.

The movie got me where I live, but I think that even non-Park Slope real-estate owners will have a blast at Duplex: It's one of the most unnerving slapstick extravaganzas I've ever seen.

A mere clever conceit isn’t enough, and here, the action smells stale and the humor staler. There’s no explosion we haven’t seen before, no quip that feels fresh and new. I suggest you save American Ultra to stream on a lazy snow day this winter — even then, the deep sleeper who needs to be awoken might be you.

In other words, while it might not return with previously unseen treasures, what it does rummage up pairs perfectly with a large bucket of popcorn and a slushy drink.

Management remains for the most part as endearing as its leads. Steve Zahn is a wonderful actor who's spent too long in the "hey, it's that guy" best-friend role.

Not even the actress' soulfulness can save the generic climax, in which she tussles with the badder bad guy on a collapsing terrace above a crashing surf. As a colleague muttered, "Murder by numbers is right."

It has been sexed up, opened out, and finished off with a disappointing bang-bang climax, but it's still good fun.

Like all abstract art, At World's End is best approached non-narratively, as an experience rather than a story.

That's the best thing that can be said about Fur: It feels good when it's over, and if you see it with a smart friend, it's a blast to hash over afterward.

Less a rounded narrative than a pair of suggestive -- and unresolved -- exercises.

There is nothing wrong with the action sequences beyond their sheer length and number. They're in the "Road Warrior" mode: hyper-fast and vicious.

For a movie whose story hinges almost entirely on sex, The Other Boleyn Girl is disappointingly demure.

Like most movies in which a central story element doubles as a toy tie-in, Prince of Persia isn't overly burdened by ambition.