It's an improvement on some of Perry's other films that strike a heavy-handed moralistic note. And it lacks the silly slapstick humor of his Madea movies.

A film noir detective story that works for both devotees of the series and the uninitiated.

It's tough to summon sufficiently negative language to describe the unfunny, desperate mess that is Bad Words.

Ostensibly meant to be light entertainment. If light is synonymous with preposterous, frenetic and noisy, it qualifies.

It's a maudlin, superficial exercise in obsession masquerading as a heartfelt romance and study of grief, and character development is sorely lacking.

It's a mature, intricately layered visual delight.

Stunningly shot and stupidly written.

Lively, educational and intermittently amusing. The fun, however, grows strained and formulaic as the movie goes on.

It's undoubtedly a daunting role, and Morgado captures the gentle benevolence associated with the messianic figure. He doesn't, however, project the authority, gravitas or depth of a spiritual leader.

While it takes stabs at realism, mostly in its use of cellular and computer technology, disbelief must be suspended for full immersion in this twisty airborne thriller.

The result is a generic saga with a cast of forgettable one-dimensional characters

The result is a convoluted mess that has one good twist and two good car chases. But it's hardly enough to bring this spy flick in from the cold.

Frisky fun made all the more entertaining because of the potent chemistry between its quartet of lead actors.

Lurching back and forth through time, Winter's Tale tries to blend the supernatural and the sentimental, with a synchronous nod to elements of New York history. But this would-be magical romance flounders, hitting only dissonant chords.

What is most troubling is how this film can serve to shape perceptions for impressionable kids. Young girls and boys will think that non-stop make-out sessions is all it takes to sustain "endless love."

Moviegoers are stuck with this sci-fi thriller's bland story, murky cinematography and frenetic special effects.

The all-Lego adventure is warm and witty, showing flashes of satire.

Genial and well-intentioned, but tepid.

This thought-provoking documentary addresses the origins of Vermeer's photo-realistic art with all the suspense of a thriller.

Labor Day feels like a belabored, sappy slog.

While it has the requisite amounts of comedy and romance, it's actually more of a buddy movie. Think "Sex in the City," bro-style.

Preachy, manipulative and emotionally barren.

Hart is much like Murphy: fast-talking, mischievous and irresistible. He's so confident and good-natured that we see how Angela fell for her pint-sized slacker.

Despite some high-caliber voice talent and shimmering animation, it's hard to get a bead on this tale.

The film is slow in getting started and once it's underway it's only intermittently involving. It's also occasionally far-fetched.

There's a fun retro camp to Hercules, with nods to classics such as Ben-Hur and Spartacus, as Hercules finds himself rowing slave ships and crossing desert expanses.

It's a welcome update, qualifying as the best in the series since the first film captivated and unnerved audiences in 2007.

Survivor is a pummeling, frenzied ride, one of fall's most charged action films. The gunfights and rocket-propelled grenades are palpable, and Berg manages to make the chaos followable.