Jonathan Foreman

There are a few chuckles here and there, and there are odd wisps of cleverness in the script by Steve Adams, but for the most part, Envy is a film that doesn't know where it's going.

The dramatic history of the Soviet space program deserves a far more competent documentary than this amateurish Dutch production.

A shame that this indie's willingness to trade in stereotype leaves a sour taste in your mouth.

So tedious it's almost worth watching to see just how bad acting, inadequate direction and most important, a criminally crass and unimaginative screenplay can make so little out of a proven idea.

One of those "Lifetime"-esque horror stories of evil husbands in the suburbs.

Good-natured but mostly unfunny.

It's no funnier than your average grade-school biology lesson and less pedagogically useful than your typical Farrelly brothers comedy.

Large chunks of the film seem like a record played at the wrong speed: The tempo of the dialogue as delivered doesn't match the lines as written, and the filmmakers are too lazy or too inept to make their convoluted premise jibe with any recognizable idea of human nature.

Boasts exceptionally attractive locations, but its painfully amateurish plotting, dialogue and acting -- combined with slack pacing -- make this Beijing-set indie romance something of a trial.

Honest but also derivative and crude.

It's a shame that the book "We Were Soldiers Once . . . And Young" fell into the hands of writer-director Randall Wallace ("Braveheart"), a filmmaker who wouldn't recognize subtlety and understatement if they were to attack him in the street.

Boring and irritating, and also mildly offensive in its ignorant depiction of both Judaism and Catholicism.

A strange Gallic imitation of a Woody Allen comedy, replete with a neurotic older hero.

James' character is a charmless, boring lump and it's very hard to care if he gets the girl or not.

Richard Jeffries' script tosses together bits of plot borrowed from such "bad things happen when you leave the city" classics as "Straw Dogs" and "Deliverance" without any awareness of how or why genre conventions work.

Toomuch of the humor in Not Another Teen Movie is either lame (the school in the movie is called "John Hughes High") or lamely disgusting.

Bedeviled by labored writing and slack direction.

An inferior factory product, cranked out with little care and less imagination, that seems all the dumber because it's pretending to be smart and topical.

What really wrecks Wolfgang Petersen's Troy is some of the worst casting in recent Hollywood history: The lackluster ensemble hired by the director is overwhelmed by the generally impressive sets and crowd scenes, by the task of playing epic heroes and by David Benioff's rambling, tone-deaf screenplay "inspired by Homer's 'Iliad.'"

A lazy and uninspired knock-off of the hilarious 2002 movie "Road Trip."

This is a lazy, careless film that feels strangely unfinished.

About three-quarters of the way through, Havana Nights suddenly becomes laugh-out-loud awful, with dreadful, lame lines delivered painfully badly - as if a different screenwriter and director had taken over for the movie's final act.

The result is an intermittently instructive and amusing jumble that might have been seen as daring and "transgressive" in both form and content if it had been released, say, three decades ago.

Partly a schmaltzy, by-the-numbers romantic comedy, partly a shallow rumination on the emptiness of success -- and entirely soulless.

This inferior sequel is doomed by a lousy - and extremely vulgar - script.

Fitfully funny at best, it's a sophomoric, facetious road comedy.

Despite its talented and/or attractive cast, Heartbreakers is an ugly movie: The kind that makes you feel slightly soiled afterwards.

It lurches ineptly from lame comedy to hokey melodrama.