Kim Morgan

So action-packed from start to finish that the final result is grating rather than thrilling.

It's too ridiculous, too flatly acted, too action-packed, too, well, fun.

Though exploring, among other things, fallibility, homosexuality, injustice and loss, the picture seems afraid to really make any kind of strong statement, whether political or psychological.

Terrific musical numbers and interesting premise.

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

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.

It's a heap of contradictions that will leave your head spinning.

It's still trite and a little too cutesy for its own good. Gay or straight, the cliches remain, but not to a stultifying degree.

Jas some nice moments, a great soundtrack and some wonderful works by the dark-even-while-light Ricci.

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

The film is weighed down by the decision of director David Atkins to throw too much into the mix. The result is a serious problem of consistency.

Ponderous, pretentious and boring, Levity becomes ironic on top of itself. You won't pity these people. You'll start laughing at them. Like a clown.

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

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

An unsteady mixture of treacle and dark comedy that never feels as "dark" as it pretends. Though well-intentioned, it's not terribly compelling.

It is off-putting at first, then refreshing, then downright touching. In short, it works.

An unfortunate example of a small picture that feels small.

If not for the race sequences and the intriguing presence of Caviezel, who made this film before "The Passion of the Christ" and who one hopes will take on even more roles befitting his peculiar sad-eyed charisma, the film would amount to a well-intentioned snooze.

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

This film disappointingly feels like a sometimes brilliantly acted, often gorgeously filmed re-enactment of the television show "Unsolved Mysteries."

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.

Bullock maintains a luster and comic naturalness that most actresses couldn't pull off in such mediocrity.

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.

You can't just rework a beloved Christmas classic, set it in reverse and expect it to run smoothly.

Suffers from poor comic timing and defective romantic pacing.

Never maintains the spark necessary to sustain a feature film.

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.

A slick disappointment -- though there's much unintentional humor to be enjoyed.

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

Some will hate this film, but there's something delectably junky about it -- like a bright colored candy glistening from a gutter, you just have to look at it.

An odd, jumbled, beautifully wrought, often confusing work, this animated feature manages to be a compelling, exhilarating experience.

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

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.

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.

Limps shallowly along.

Though no classic, the concept is a clever one.

The film strives to be poetic, but it exposes nothing especially moving or relevant. Rather, the engaging leads wander around like actors lost in an ill-fated exercise in subtext.

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

Though the picture has a generic quality, it also has an ingenious amount of anything-goes that's amusing and frequently exciting. You'll laugh out loud, you'll hide your eyes -- but you'll roll them. too. Nevertheless, it's a fun, if blood- and sun-soaked, ride.

An annoying, unclever, unlikable movie.

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?

Maybe if the story weren't so ludicrous we'd care. Or maybe if the film just went overboard with its ludicrousness, we'd be entertained, but Don't Say a Word is merely boring.

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

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.

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

A film with almost zero redeeming value.

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.

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.

So what is the picture saying? With its uneven tone, flat direction (on bad-looking digital video) and varied performances, very little.

An atrocity exhibition from start to finish.

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.

A tepid disappointment that contains one mediocre chase scene and a lot of wasted talent.

A flawed fable but an intriguing one nonetheless. It's "Splash" gone existential. How many films can you name like that?

Hollow, frequently boring picture.

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.

Basic essentially is a fun movie, surprise ending and all. To take it too seriously is to miss the point. Travolta is charming, his performance recapturing the old charisma.

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?

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

Garners only a few chuckles, becoming, even in its short running time, boring.

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

Short on both life and laughs.

Poor special effects, a silly looking werewolf and clunky comic writing help to spoil what should have been a fun B-movie.

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

Nothing near a modern vampire classic. Still, "Queen" is a great dose of vamp camp

If you've recently watched that great skateboarding documentary "Dogtown and Z-Boys," Grind will play like a soft-pedaled Afterschool Special.

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.