The villain here, Jesse Eisenberg's Lex Luthor, is so intensely annoying that, very early on, you wish Batman and Superman would just patch up their differences and join forces to put the squirrely rascal out of his, and our, misery.

Cavemen has absolutely nothing fresh to say about its subject, and its tired genre conventions wouldn’t pass muster on a Fox sitcom.

The film has entertaining moments, but these are clearly secondary to its proselytizing intentions.

Respectably crafted but short on invention and serious scares.

While One Candle, Two Candles… sheds much needed light on the archaic, barbaric custom that is its subject, its jocular tone threatens to undermine the importance of its message.

Ali has a deft hand in creating a fantasy world based on the classical Sita-Ravana model, and gives Bhatt free rein to project herself with unabashed teenage appeal.

While Wedge’s animation background comes in handy during some inventive chase sequences (shot in rural British Columbia), Monster Trucks is otherwise a clunky nonstarter.

Replaying many of the visual gags that worked so amusingly before, the latest edition proves every bit as repetitive and uninspired as its glib title, bringing little that’s fresh or funny to the interlocking brick table despite boasting a script penned by originators Phil Lord and Christopher Miller.

The story keeps everyone in motion all night long, and frantically so, to the point that it could easily have been titled Non-Stop 2.

While this low-budget effort seems to have its heart in the right place and features a sensitive, moving performance by Oscar winner Melissa Leo, it ultimately feels like a compendium of bizarre character quirks adding up to a barely coherent whole.

Features fine performances from the veterans in its cast. But it ultimately comes across as little more than a compendium of cliches.

Overlong, willfully obscure and scatologically extreme, the film will elicit a variety of negative responses despite offering some individual elements that, on their own, would surely impress any of Barney's admirers. The work simultaneously is more fully realized and less creatively inspired than the Cremaster cycle.

Another deep disappointment for fans of the raw, exciting "Ong Bak."

It’s a loud Oz hodgepodge that never adheres to a prevailing tone long enough to allow viewers to emotionally engage with those characters in spite of some admittedly inspired CG flourishes.

Awkwardly condensing more than 20 years into a running-time well under two hours, director/co-writer Cao Hamburger needs a bigger canvas for his well-intentioned but underpowered saga.

With a storyline less challenging than that of a typical CBS crime procedural, Ride Along 2 is little more than a repetitive rehash of the original.

The Second Best Exotic Marigold Hotel is a sluggish also-ran compared to its predecessor.

This effort offers some mild amusement but lacks the anarchic wit to make it anything more than a slight diversion.

The script by John Swetnam is rudimentary, with only the most minimal and pallid stabs at characterization... Nevertheless, once the funnel clouds begin swirling, Quale and his special effects team achieve some remarkably authentic and frightening moments.

It’s all pleasant and forgettable.

Hough’s dancing is far more impressive than his acting, and BoA, despite her perky sexiness, is an even less compelling screen presence. But they certainly move well together, and that’s pretty much all that matters here.

Debuting directors Damon Maulucci and Keir Politz have a better sense of storycraft than the filmmaking on display.

The too-infrequent scare techniques, however, are mostly by the book, rarely developing sufficient dread to heighten the film’s rather unremarkable climax.

Despite the undeniable presence of a huge amount of action, X-Men: Apocalypse is decidedly a case of more is less, especially when compared with the surprising action and more interesting personal interactions (including the temporary subtraction of some characters) in other big Marvel franchises.

This feature debut deals mainly in clichés, never transforming the tough question at its center into compelling cinema.

Despite the plethora of melodramatic plot elements, the film remains curiously uninvolving due to its compendium of clichés and sluggish pacing.

As usual, there are only fragments of thoughts, nothing is developed, and it will be left only to the tiny band of die-hard Godardians to try to make any meaningful sense of the disparate fragments stitched together here.

Striking nary an unfamiliar note, The Song sluggishly lurches towards its predictable conclusion — spoiler alert, Jed sees the error of his ways — but it does offer some pleasures along the way.