Luke Y. Thompson

Taylor and Pearce just aren't believable.

The latest entry in the "next 'Full Monty'" sweepstakes.

It feels like a pilot episode for the most expensive made-for-cable cartoon ever produced, and if you expect quantity (or closure) for your $8 ticket, you may feel shorted. The quality, however, is unlikely to be disputed.

The first great film of 2005.

It’s a set-up too contrived to feel real, yet not quite over-the-top enough to be hilarious.

Certainly delivers violence and heroics, but not in a way everyone is going to enjoy -- it's brutal and harrowing.

Unlike the original, there's no R-rated grit and no familial executions -- gotta get the young-skewing WWE fan base in there.

In the wrestling ring, Cena used to wear a shirt which read “Rise Above Hate,” and indeed, he does so here. It would be better if he found a project where he didn’t have to.

Chris Rock gets to direct himself, and as a result is finally starring in a laugh-out-loud funny movie.

The movie works while you watch it, with plenty of scares both sudden and psychological.

Deserves an A for ambition, but the final product is a pastiche of too many predecessors.

As it stands, there's some fine sex onscreen, and some tense arguing, but not a whole lot more.

Kennedy is funny, but too cartoonish to ever identify with -- Diggs and Anderson are the real stars of the show, and need more screen time.

When the entire theme is about misdirection, then yes, assessing how enjoyable the swerves and bluffs are, both narratively and conceptually, feels entirely appropriate. And they all too often feel like letdowns.

A film you can dump your kids off at the mall to see in order to get peace and quiet for an hour and a half.

This movie is, essentially, porn, and whether it's a turn-on is likely to be subjective to each viewer. Those who find traditional porn too artificial should be pleased.

From the cast to its odd, intriguing locations, Sigal was successful in assembling many of the right ingredients. Unfortunately, they lack a chef who knows how to properly combine them, whether that’s to create a meaningful sense of cohesion or to truly create the kind of beautiful chaos that makes Lynch such a mesmerizing source of inspiration.

Lurie's politics aside, it's astonishing that a man who once reviewed films keeps churning out movies full of cinema's most hollow clichés; indeed, he turns out stuff that's even more disjointed and improbable than the most mediocre fare.

It makes it clearer than ever before that these films are comedy. Granted, the sick kind of comedy that involves laughing at stupid people being ripped in half, but we know there are plenty of you out there.

Against all odds, the American Pie movies have actually gotten a little better each time out, though that's certainly not to say that they're, uhhh, "masterpieces."

Unlike Forrest Gump’s box of chocolates, what you’re going to get from this box of travel sweets is usually something you can expect. But that doesn’t mean it can’t be effectively tasty in the moment.

Eternal promises kink and delivers next to nothing.

Full of fits and starts, it never really gets going, stalling at every turn without even giving us enough of what we paid to see -- Snoop Dogg and gore.

Actually quite agreeable, but only because of a group of actors who are able to salvage the paper-thin material.

It isn't until Joe starts getting confident and cocky that Allen starts to feel a little more natural in the role, and by then the movie's plot has all but evaporated into a series of wispy gags that barely register.

At its best, Jurassic Park III is eerily similar to some of the more recent dinosaur-themed video games on the market.

It's all a bit silly and predictable, but maybe that's the point.

High Tension often feels like a ’70s exploitation movie in the best sense; unfortunately, the ending is so bad that it mars everything that comes before.