Stilted but commendable for its intent, the movie may function as a great conversation-starter if watched with young kids who might be receptive to new material. For fans of international animation, there are sporadic diamonds of craft, but likely not enough to impress viewers accustomed to the quality of the GKIDS catalogue.

It’s just shameless promotion for a book about relationship advice, released on a streaming service that also sells happens to sell the book. It even features lines like, 'This story hit so hard I Amazoned a copy of ‘Relationship Goals’ right away.

It’s difficult to imagine anyone watching Life Upside Down out of anything other than abject desperation.

So lacking in substance and purpose that after a while you can’t even hear the dialogue over the incessant sound of Aristotle’s ghost punching himself.

It lacks character, it lacks morbidity, it lacks subtext, it lacks suspense. It just kinda lays there like Hannah, but without any of her sinister magic.

Demonic isn’t just a low-budget supernatural–sci-fi thriller; it’s also a shallow one, a boring one, a poorly conceived one — and the characters stink too.

Some B-movies, of course, are highly entertaining. This one, though, seems like it was as much of a slog to make as it is to watch.

It’s a speedy adventure with diverse action set pieces and a mystery that boasts at least one halfway decent twist.

Sam Raimi is a producer here, and it’s hard not to think about how he might have mined this material both for provocation and for fright; his “Drag Me to Hell” remains the gold standard of how to scare the heck out of an audience within the restrictions of PG-13. What we get instead here is a tepid little chiller with an overqualified cast.

Viewers who, for whatever reason, love the first “Space Jam” may well find themselves delighted all over again, but as a once-in-a-lifetime opportunity to plunge a beloved sports figure into a century’s worth of pop culture iconography, “A New Legacy” is a big fat airball.

Whether or not one should tamper in God’s domain remains a matter of opinion, but Victor Frankenstein provides evidence that mere mortals should not mess with what Ms. Shelley hath wrought.

The movie equivalent of a diverting beach read.

The film’s so inflated with moral importance that it becomes ridiculous, a Lifetime movie shoved into a cage and fattened with sermons and platitudes until it is ready to be served up cold and bland.

Sex Tape is a hustler of a film — it works very hard for its laughs — but it's so haphazardly directed (by Jake Kasdan) and written (by Kate Angelo and Segel and Nicholas Stoller) that it can easily be divided into three distinct sections.

The time travel stuff is mined for funny jokes for a few minutes and then the film shows zero interest in all the worms it’s uncanned. It’s a whole lot of “what ifs” and not a lot of “then whats.”

A thoroughly unpleasant experience.

Poms is strongest when basking in the infectious enthusiasm of its cast. Keaton and Weaver could have easily phoned in their performances, but they do look like they’re having fun together with their crew of Golden Girls.

Nothing feels remotely fresh, let alone savage or zany in The Wild Life. It’s a dull, uninspired and frantically tedious animated re-telling of the Robinson Crusoe story, complete with a menagerie of ditzy, caterwauling beasts.

The plot is that most dreadful of mixes: both laughably silly and needlessly complicated.

It’s confused about whether it wants to be a ticking-bomb tale of heroics or a complex insider account.

[Gervais] abandons all sharp edges and serves up a bland, toothless picture that isn’t particularly scathing and doesn’t have anything much to say, even though the basic premise might have allowed for some satirical jabs at journalism and politics.

Densely packed and gorgeously expressionist, the old-fashioned tragedy is very nearly a satisfying experience despite its various shortcomings.

A perfect example of how lame, lazy material strands good actors, resulting in a movie that looks great and feels less so.

It didn’t take long for this fleet-footed sequel, spry and charming, to win me over.

Aficionados of Nicholas Sparks movies may swoon over this film’s distressed T-shirts and kudzu-choked back roads, but lovers of love stories deserve much better.

Lucy in the Sky becomes a strange experience that tries to force too many themes together at the detriment of its otherwise fascinating heroine.

As post-“Jackass” movies go, Action Point makes more of an effort to sandwich some plot between the literally painful slapstick comedy, but if you love that formula — Knoxville falls off something, or into something, or has something projected at him, making him wince and then deliver his famous high-pitched giggle — you’ll want a ticket to ride.

The Captive is chock full of sealed rooms, kidnappings and abducted prisoners, but what it can never escape is its director's own shadow.