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With such a title, the bar is immediately set too high for what’s a fairly conventional good vs. evil battle with spectacular visuals.

Not the mindless action fun you've been hoping for. What makes the stupidity vile is the level of blood lust that fuels the good guy.

A captured fugitive says, "We made mistakes. But we were right." That’s the film’s view in a nutshell: sort of a Sympathy For Radicals.

It’s called The Big Wedding but it’s really not about a wedding. It’s about sex (and some very unhappy people).

For all its star power, futuristic talk and sci-fi imagery, the film is ponderous, mundane and ultimately forgettable.

Director Jeff Nichols effectively blends genres, numerous subplots and character dynamics – and does so with emotional weight and power.

The core ideas, conflicts, and yearnings resonate so sincerely that it makes the occasional weight of self-import easy to forgive.

If points were awarded strictly on ambition, it's nothing short of epic. Unfortunately, director Clanfrance doesn't know when to say when.

Lots of fighting and explosions punctuated by moderately clever dialogue. "Pretty much exactly what I want," my male friend told me.

Like The Blind Side, faith is integral and is presented unapologetically. And like The Blind Side, 42 isn't appropriate for all ages.

The Oogieloves were created with a child’s best interests in mind, giving them something to do as well as watch.

If this sci-fi/romance mash-up is representative of the current state of either genre, those genres are in big trouble.

While most of the marketing suggests that it’s a charming romantic comedy with two likeable leads, that’s really only half of the story.

A film so poorly plotted that it makes anything featuring Perry’s obnoxious Madea seem downright genius in comparison.

As unsatisfying as the conclusion is, the journey itself makes for a pretty fascinating morality tale... as far as action movies go.