Michael O'Sullivan

A blandly middling crowd pleaser.

Dull and repetitive, even by the standards of an already repetitive genre.

If it's art, it's only mildly interesting.

It's a performance in search of a movie.

There's no sense of perspective here.

This "Holmes" is just about as silly as it awesome. At times, Ritchie and company try so hard to make sure this isn't your father's "Sherlock Holmes" that it comes across as, well, cartoonish.

Enjoy it, in moderation. It's your recommended weekly allowance of schlock.

When all is said and done, Mike proves to be not only peripheral to the main thrust of the movie, but a drag on its momentum.

So light and airy, it almost floats away on its own breeziness.

There Be Dragons is like fine wine, served in a Big Gulp cup. A little is very nice. A lot is way too much.

It's just that Pattinson's performance is so enervated that his Georges Duroy comes across as something of a cipher. He's not quite alive, yet also clearly not dead, given the amount of sex he has. He's undead, or at least uninteresting.

It's like "A Midsummer Night's Dream" in the Catskills.

Blackthorn feels less like a proper sequel to "Butch Cassidy and the Sundance Kid," which it purports to be, than a coattail rider.

It's heartwarming. But the film never really takes fire.

In the end, Daybreakers doesn't really want to make anyone think too hard. If that were to happen, they might stop to wonder why all the human survivors out there hiding in fear of their lives don't just become garlic farmers and call it a day.

Planet 51 is cute, but it's no "Shrek."

The swells of inspirational storytelling sometimes threaten to swamp the underlying inspirational story.

It's a highbrow romantic farce, without the laughs.

The problem is, the movie doesn't really care if we are laughing with it or at it.

There's a nagging question at the heart of Chernobyl Diaries. It isn't what, or who, is stalking these kids. After awhile, the answer becomes apparent, leading to a denouement that, while mildly exciting, feels like a ride you've been on before.

For those with no vested interest in this protracted and supernatural soap opera, but who do care about cinema, The Twilight Saga: Breaking Dawn -- Part 2 will be, unsurprisingly, a silly and somewhat cheesily made waste of time.

The hero of Sinister is almost unaccountably dumb. So, unfortunately, is the movie.

The film's real problem is that it can't seem to make up its mind about whether it wants to frighten us or make us laugh.

The argument in Amigo is so heavy-handed - and its execution so crude - that by the time the movie winds its way to a predictable but uninvolving conclusion, nobody will be listening anymore.

There's so much pluck and gumption on the screen you can smell it. Flesh and blood? Not so much.

Here's a better title for Griff the Invisible, a well-meaning but unengaging love story about two 20-something misfits: "Griff the Implausible."

Worse yet is the insincerity of the film's central performances. Too cool by half, Glodell, Wiseman and Dawson speak every line as if it had air quotes around it. In fact, the entire movie feels as though it has air quotes around it.

Jonah Hex may not be the longest 81 minutes you ever spend, but it might well be the most tedious.