Kevin Crust

A jumble of genres including mob melodrama, bodyguard romance and interracial love story, none of which is handled in a remotely satisfying manner by director Ron Underwood. The film's tone shifts with all the grace of a car with a balky transmission.

Outdoes recent releases such as "Boogeyman" in the fright department, but the "Dawson's Creek" sensitivity and unsatisfying effects undermine the lupine anxiety.

Blackmail Boy reaches for tragedy but settles for soap opera.

A bust. As murky as its release print, it is a stale, incoherent spy caper.

Andreas is way too low-energy to hold the screen as the film's lead, but he was wise to surround himself with a talented cast. Unfortunately, the wooden dialogue and overall shallowness of the writing keep the film from being even an amiable diversion.

This is not a “but the book was better” argument. It’s simply that by abandoning the original character and cobbling together broken story shards and spare parts, Branagh and company have produced something off an assembly line: safe, generic and utterly disposable.

For what is essentially a screwball comedy, Over Her Dead Body is surprisingly uninspired, a frothy concept that offers little satisfaction in the way of execution.

The filmmaker captures a certain exaggerated verisimilitude, but the comedy is surprisingly flat. The cast sells the occasional one-liner, but a Reynolds smirk can take you only so far.

The interviews are carefully augmented with speeches by President Bush and other administration officials, plus footage from Iraq and Afghanistan, and powerful graphics detailing the depletion of the global oil supply.

In the parlance of "The Player," Katrina Holden Bronson's Daltry Calhoun would be pitched as "Because of Winn-Dixie" meets "Napoleon Dynamite," and that is definitely not a good thing.

Its biggest failing -- and the ultimate one for a lightweight entertainment such as this -- is that it's a deadly bore from start to finish.

The whole movie could be clipped by about 95 minutes and it would make a swell little video for Simpson's performance of the title cut from the soundtrack.

Features some charming songs by Carly Simon and is warmly animated so as to evoke nostalgia in parents.

Recycling is alive but not well in the outmoded teen comedy Dirty Deeds, with a result that is more toxic than intoxicating.

Devoid of verbal wit, instead relying on a relentless stream of Looney Tunes-inspired violence.

The movie is a pastiche of tortured slapstick, groan-inducing dialogue and a lethal dose of treacle, apparently awaiting one of Williams' trademark sprees of riffing and vamping to save the day. That moment never comes, however.

The result is a film that's main crime is inducing stupefying boredom with little payoff in the end.

Carl T. Evans' tedious drama Walking on the Sky serves primarily as an acting exercise for its cast and a showcase for its primary location, a scenic Manhattan rooftop.

Unfortunately, the film lacks the suspense and drama to carry the psychological burden placed on it by its makers. Plot strands are dropped like so much lint, and it ends so abruptly that you wonder whether the filmmakers ran out of money, ideas or both.

It's astonishing how dull a movie that packs so much visual overstimulation into its frames can be.

My Boss's Daughter is not awful. It is a genial youth comedy that serves Kutcher well as a vehicle. That's it. That's all it tries to be

A stupendously torpid thriller without a single redeeming quality.

Despite the presence of funny guys such as Zahn, Garlin, Justin Long and Jonah Hill, along with veteran character actors Ernest Borgnine, Joe Don Baker and Robert Patrick, the movie fails to be even passably funny.

Lifeless and laughless.

It will surely yield nominations for worst picture.

Plunges into an abyss of gruesome imagery so repulsive it precludes further watching.

An unsuccessful concoction of sincerity, camp and crassness that is more interested in its parade of D-level celebrities than developing its characters.

Where Fabled flounders is when it attempts to reconcile the many contradictory story elements.