Jon Strickland

Feels like a movie cribbed together from outtakes of other hapless Hollywood comedies -- rejected scenes where the line readings fell flat, the chemistry expired or the adult actors couldn't wipe the "get this brat away from me" scowl from their faces.

The film is naive in its glorification of violence and vengeance.

The 26-year-old Argentine director Diego Lerman shows a sure hand in his debut, from his contrasty black-and-white compositions to his sly, jumpy edits, reminiscent of Godard.

It all adds up to pleasantly nonsensical mayhem.

If the dialectics here are strictly Hallmark, the film is lifted by some nice location work - all of the Chinese scenes are shot around Shanghai - and deepened somewhat by the bleak depiction of the emotional lives of Katie, her family and her friends.

All the fine cinematography -- lots of beating wings and impossibly large dust motes floating through slanting beams of sunlight -- can't hide the sad fact that the second half of the film delivers none of the shocks and starts required of atmospheric horror.

Muniz has a great face and body for physical comedy, but the numerous one-liners shoehorned into the script fall flat, unassisted by Anderson's numbing “street” ad-libs.

Despite some exciting visuals...Schwartzberg intercuts his segments with clichéd swooping helicopter shots of city skylines and desert mesas...undermining the quirky individuality he seeks to celebrate.

Paycheck is too smart for a mindless actioneer, and too slick to capture the full moral weight of Dick's dystopia.

Fans of the TV series will again be happy to see some of the old Saturday-morning villains, and Bill Boes' excellent production design outdoes his work in the first film.

If Kaena's alternate universe isn't nearly as fully realized as "antastic Planet'," the 3-D imagery is often gloriously turbocharged.

There's a nice reunion of Martin Mull and Fred Willard as beleaguered Ohio parents, and a spacy turn from Henry Gibson, but the tentative muddle of the interlocking stories makes you wish that Craven could live up to his ambitions.

If first-time writer-director Julián Hernández lets his knotted narrative get away from him too often, he nevertheless shows a miraculous sense of style for a 31-year-old.

Korean cinema may be a rising force in Asia, but Tube isn’t the place to take your first ride.

A parade of missed opportunities.

The titular precipitation in Lana’s Rain is a manifestation of the badness in the world -- but here, badness is pure Lifetime Channel.

Nobody here, especially Martin, looks as if he's having much fun, apart from a dizzy cameo by Ashton Kutcher as oldest daughter Piper Perabo's model-actor beau, riffing heavy-handedly on his pretty-boy image, and loving it.