Kim Morgan

So strained in its "charm" and "pluck" that you grow weary by minute 15, hoping that the teens whose lives it depicts will stop being so darn peppy or sweetly confused or irritatingly dramatic.

Peter Segal's film, a predictable, choppy affair at best, boasts an understated, likable performance by Sandler, but here we never feel, as we did with the original, invested in the outcome of the final game, or convinced of the redeemability of the movie's sordid protagonist.

Kassovitz can't control the ridiculous script and messy tone. And though it's not exactly hard to watch Berry run around in a hospital robe (Cruz and Berry: That's one good-looking mental ward), it's not particularly profound.

Though it's debatable whether Sandler is squandered or just supremely annoying here, the film's flaws aren't entirely his fault.

If the movie wasn't about an actor but instead about an insurance salesman or a plumber who looked like James Gandolfini, it might come off better. But then, who says a plumber would care either?

The film wears out its welcome by the halfway mark, becoming a silly spectacle.

Sometimes funny but mostly stupid film directed by Adam Shankman might have worked had it been made on TV by Norman Lear in the 1970s.

In The Tuxedo, ridiculously, Chan's just a suit. A suit walking Jennifer Love Hewitt's breasts around. Chan deserves better.

It's nice that Demme reveres the Hollywood classic, the French cinema and the glamour of his actors. But nice is all The Truth About Charlie is -- a nice mess.

The picture is pinched and predictable. Even with the immensely talented Steve Zahn, an actor who's known to steal scenes and, sometimes, save pictures, the movie is a yawn.

The best thing about 2 Fast 2 Furious is Tyrese (terrific in Singleton's "Baby Boy"), whose charisma, looks and charm supply the picture with much-needed spark. It's too bad he's stuck in this spotty video game.

Its cool, glib observations, delivered by good-looking creative people who live like the cast of "Friends" gone cynical, becomes forced and often stupid. The film goes off the track enough to make for an interesting train wreck.

Limps shallowly along.

Never maintains the spark necessary to sustain a feature film.

Quite simply, the "Tomb Raider" series has been flat-out boring, even with the talented and fun Jolie -- who needs to take off those harnesses and get back to real movies. She deserves better.

The clothes are worth it; nothing else is.

Accuracy and realism are terrific, but if your film becomes boring, and your dialogue isn't smart, then you need to use more poetic license.

Somewhere along the way, Stephen Herek's Rock Star decided to become a dippy, cliche-ridden drama and, worse, an odd indictment of metal music. Joy.

Not that Chan isn't lovable; he is. But he's making it harder to feel warm and fuzzy about him with films like The Medallion. It's OK to age, but Chan needs to broaden his horizons. He is a trained singer. Where's that musical he's always dreamed of making?

All guts, no glory and, worse, bad story.

Plot, comedy and characterization? It's absolutely anemic.

Bad comedy.

Goes overboard in its presentation of supposed reality.

Feels more TV movie-of-the-week than Oscar contender.

Starts out dark, thrilling and inventive, then, regrettably, becomes sappy, mainstream and mundane.

Lacks the perfect timing, luster and true vitality of its predecessors.

Lopez is fine, sometimes quite funny, but she's better playing the take-no-prisoners planner than a goofy, insecure dork.

We're talking mediocre-to-bad. Still, the film has at least two bits that are funnier than anything in many better films and a fair amount of mild amusement in between.

There's nothing worse than a sub-par Woody Allen knockoff.

A little movie, fine, but a little movie with little in the way of character composition, cinematic panache or intelligent writing.

It's something we might mildly enjoy on an airplane (well, not anymore) or on a lazy Sunday TV day when nothing else is on, but in theaters, it's a clunker.

One of the funniest things in Scary Movie 3 is Pamela Anderson. She makes us laugh. And not just at her (though she's game to poke fun at her image) but with her.

Filled with too many issues -- along with young motherhood, street gangs, city life, sex, peer pressure, grief and, oh yes, dancing, which is nearly lost in so many poorly written subplots.

Fails to be resonant and, more important, scary.

Watching Rocks shows, we know he's sharper than the average actor. But watching him flail and play funny in movies that aren't as smart as him is simply depressing. Someone give this man a good role. And please, let him do a few more takes -- these scenes can't be his best efforts.

Suffers from poor comic timing and defective romantic pacing.

By a certain point The Heart of Me becomes pointlessly depressing and unlikable without offering insight.

A flimsy film that's too clean and corn pone to be anything near rock 'n' roll.

America's favorite romantic comedian is miscast in Kate & Leopold -- a disappointment with the warm and charming Jackman around.

A picture that could have bordered on classy screwball if written wittier, acted sexier and filmed shinier.

It's classic movie manipulation gone amok.

It's Zahn who truly conveys what Marshall and Barrymore are going for -- laughing through your tears.

The Young Unknowns flails about, sometimes realistically, but the cumulative effect is "so what?" These characters may be young and unknown, but they feel old and in the way.

Maybe if you're younger than 10 you'll be scared or thrilled by this film. Otherwise, be prepared for one of the most unexciting pictures this summer.

Jinxed itself into being nothing but an inane popcorn flick pretending to be edgy.

Though there are some funny moments, little in "Red, White and Blonde" is enjoyable.

Ledes shows promise, but truly, this would have been better left to Todd Haynes.

Taking the film as a thriller, it's neither exciting nor scary, hampered by a middle that plays much too long.

You can't help but think how much better this film would be had Woody Allen directed it...How much more acerbic fun would it be to see Judy Davis playing stenographer to a neurotic, writer's-blocked Woody?

It all makes you realize the importance of the guy who should have played Malkovich's role -- Christopher Walken. He makes films like this bearable.

Has a few pleasing stylistic flourishes and a potentially Hitchcockian plot, but the writing and rhythm are so off that when the final "shocker" arrives, we have seen it coming or have abandoned caring.

A film with almost zero redeeming value.

So often out of control that it becomes absurd and exasperating.

One of the most wearisome "high adrenaline" movies to come along in a while.

For those who've seen the original, no surprises will be unearthed other than an altered story (not for the better) and more gore.

Has a curious train-wreck quality to it that keeps you watching and thinking. (Even if you are thinking things like, Why were these lines ever written? When you hear the "turkey" line, your jaw will drop.)

Working with a weak script and too lightweight for its freakier moments with Green, the picture never gels. Green's the star, but he really should be in a movie much weirder than this one, a film that can accommodate his humor.

A disappointing venture. If only it had been more clever, perhaps darker.

There are movies that are made for the big screen, and movies that are made for the small screen; Passionada is the latter type.

Groove seems to be less about what it is chronicling than what its attempting to decipher.

The script is inane, and though Ferri has some funny moments, the acting is annoying or hopelessly bland.

A tiresome, hammy and ultimately annoying portrait of the artist as a young drunk.

Scooby-Doo is bad. Let's just get that right out of the way. Filled with unclever quips, tired humor, a lazy silliness and bland execution, the picture is a tedious puff of nothing.

So tedious that the experience results in nearly two hours of squirming and cringing.

Just pass on K-PAX.