Singer Usher Raymond earns praise as the leader of the group, but the rest of the cast goes largely unnoticed.

Monumentally unimaginative. Thumbs down!

Anything Else feels driven. It's like a rant from a therapist's couch--angry, unmediated, free-associational, unleavened by sentiment or compassion. And it's something else that Allen hasn't been lately: funny.

A melodrama in which the clichés prove more lethal than the bullets.

There's no dramatic trajectory here at all.

Johnston understands everything about old-fashioned werewolf movies except why they were scary.

It's the cinematic equivalent of a plastic-covered couch under a "Bless This House" sampler. And that's not a bad thing, for audiences who have a high threshold for sentiment and a low one for dramatic conflict.

A vast, lumbering white elephant of a movie--but I sort of love it.

Is Brad Pitt the worst actor on earth? The case could be made, and Meet Joe Black could serve as Exhibit A.

The more subversive Instinct gets in proclaiming free will an illusion fostered by a rigidly repressive society, the more captive it seems to a rigidly repressive studio marketing department.

Turns out to be semi-enjoyable, semi-tacky retelling/updating of the old Elizabeth Bathory legend.

Though the movie never overcomes the miscasting of its lead couple, The Romantics does show a surprisingly fine authorial touch.

It’s not a terrible place for the Fox X-Men series to end. But it doesn’t feel like the Dark Phoenix Saga. For that, we’ll always have comics.

Ponsoldt—who also directed The Spectacular Now and The End of the Tour—has a great feel for intimate conversation, but he’s all thumbs when it comes to The Circle’s attempt at stylized allegory.

It’s also hard not to judge it against the movie it might have been. In 2000, Unbreakable felt like an anomaly, a superhero movie that steered clear of camp and dug into the genre’s bedrock. It could have been thrilling to extend that approach into 2019, where superheroes storm the multiplex on a monthly basis, and there’s no longer a need to laboriously explain the culture behind them. Unfortunately, it seems that laborious explanations are the part Shyamalan likes. He’s the evil mastermind detailing his plot for world domination, knowing that the villain’s monologue is a terrible cliché but unable to resist the urge.

If The Lovely Bones, at least for this critic, fails, it's certainly not for lack of metaphysical gumption...It's when the movie returns to earthly life, the prosaic world of suburban cul-de-sacs and family relationships, that it falters.

The film has no spirit of inquiry -- no spirit at all, really.

The first half-hour or so of this caper comedy, which is based on an Elmore Leonard crime novel, goes down like a strawberry daiquiri with a little umbrella.

Hathaway and Ejiofor seem excited to play edgier, less nice people than they often get the chance to, and the early scenes of them locking horns in their claustrophobic (if posh) flat generate enough energy to carry the movie almost all the way over the finish line.

Johnson rips off a lot of "Batman," especially in the cathedral climax, but that's not so bad: The movie looks best when it looks like other, better movies.

Transcendence is nowhere near as elegant, witty, or insightful as "Her." Pfister and the screenwriter, Jack Paglen, grapple ponderously, sometimes oafishly, with the ethical and philosophical issues at stake in the film’s premise.

A grave screwball comedy. Its gags aren't just hilarious -- they have a weighty, plaintive soul.

The new paint job is nice, but the insides may be too creaky to salvage.

It appears to be relying on name recognition to garner an initial burst of curious viewers before word gets out about what a dud it is.

I found the movie cheap, muddled, and thoroughly devoid of insight.

I had a fabulous time. Well, I did once I accepted that it was a campfest--a great Provincetown drag show of The Stepford Wives.

Armageddon is awesome, dude, but it's, like, short on awe.

125 minutes is a long time to stare at a movie that's basically in bleached blue-and-white with occasional splotches of brick red. The palette reinforces the monotony of the storyline.