Ethan Alter

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

Perfume is sure to annoy as many moviegoers as it entertains, but at least even the naysayers would find it difficult to argue that film is nothing if not a departure from the ordinary.

At its best though, the film offers a pointed critique of a youth culture that views someone like Jesse James Hollywood as a person to emulate.

A big success in Europe, the film has already spawned two sequels, the first of which is due to be released in the fall.

The mixture of action, drama and romance isn’t as potent, and Kaige’s reliance on subpar special effects hurts the movie. Wu xia fans will still find things to like, but the uninitiated will probably find this slow going.

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

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.

An anemic adventure that epitomizes generic feature animation.

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.

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

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.

You've got to give the guy (De Palma) some credit. He's made a bizarre, baffling and at times flat-out bad movie. But at least it's rarely boring.

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.

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

The film is laughable when it tries to be dramatic and stone-faced when it strains to be funny. Beyond that, Man of the Year is often so wildly off the mark in its depiction of how elections are run, it's hard to believe that it was directed by the same guy who helmed "Wag the Dog," one of the savviest political films ever made.

This charming musical based on the comic strip character Little Orphan Annie features many memorable songs and pleasant dance numbers.

Before it descends into dull sadism and general incoherence in its third act, Turistas is a mostly effective exploitation picture, the kind of movie that would have been proudly displayed on the marquee of a '70s-era grindhouse.

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

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.