Ethan Alter

It's great that the comedian felt the call of a higher office, but it's a call that apparently only he can hear.

Even Depp's increasingly tired antics can't lighten the dour mood; in fact, Sparrow is completely overshadowed here by Rush's lively turn as Barbossa.

We can only speculate why McConaughey chose to play the role this way, but in all honesty, it's a good thing he did. His loony performance is the only surprising thing about this otherwise paint-by-numbers inspirational drama.

To be fair, Smokin' Aces isn't a complete train wreck. Carnahan stages a handful of strong action set-pieces, most notably a close-quarters elevator shoot-out involving Liotta and Flanagan, that are a blast to watch.

This tale has been told so often (in fact, its roots can be traced back to Fellini's 1953 coming-of-age classic "I Vitelloni") the only way to keep it remotely fresh is to keep changing the time period and the professions of the principal characters.

From the beginning, something doesn't feel quite right about their latest romp. The characters are sketchier, the situations more contrived and the laughs are fewer and far between.

The actor that comes off the best in The Ex is Grodin, who spouts some hilariously cranky one-liners that sound too off-the-cuff to be scripted.

There's no question that Death of a President fulfills its objective as a conversation starter, but as a movie, it's sketchy at best.

Unrelenting and predictable, this pretentious collaboration between a music video director and the writer of "Revenge of the Nerds" covers all of the bases now required in a road movie thriller, to precious little dramatic effect.

Flags of our Fathers really loses its way in the final half-hour, when the point-of-view abruptly shifts to James Bradley (played here by Tom McCarthy), who takes on the role of narrator, informing us of what happened to each of these men after the war ended and their names became yesterday's news. It's a jarring switch.

Earnest, respectful and thoroughly dull.

Johnny Suede's stylish, dreamlike mood and abstract dialogue cannot compensate for its unsatisfying storyline and characters.

Time doesn't just slow down while you're watching Catch and Release -- it actually comes to a dead stop.

Bill Forsyth's films are always idiosyncratic, but Being Human is so steeped in the director's interior dialogue with himself as to be incomprehensible to anyone who doesn't happen to be Bill Forsyth

Like the equally dull romantic drama "Catch and Release," which was in theaters for a nanosecond back in January, In the Land of Women strains to convince the audience to that it's telling a real story about real people. But with its glossy visuals and photo-shoot ready cast, the movie ends up presenting us with the very opposite of reality.

It's just a spectacularly lazy movie that's content to trod the same well-worn ground as its predecessors.

By straining to make a respectful war film for everyone, Winkler and Friedman have wound up with a toothless picture that won't satisfy anyone.

Cool World's numerous plot holes and illogicalities might be forgiven if it had interesting characters or impressive visual effects.

An anemic adventure that epitomizes generic feature animation.