Nathan Rabin

Even with the impressive talent assembled in front of and behind the camera, and a healthy budget for a television movie, Body Bags is still little more than an agreeable lark, and its breezy charm might not have survived a drastic cut in budget and shift in shooting locales.

A nasty black comedy whose relentlessly glossy exterior recalls both Araki and John Waters without the wit or smarts of either...As a black comedy, Jawbreaker has one major flaw: It's not funny.

A frenetic, busy, expensive machine that looks good but runs on autopilot.

Add Balls Of Fury to the list of movies that not even Walken's moon-man delivery and oddball comic energy can save.

Rambo works best as a pure action movie devoted to delivering the cheapest kicks imaginable--and to a much lesser extent, to bringing attention to human-rights violations and genocide in Asia.

Super Mario Bros. devotes half its run time to lumbering exposition, yet still makes no f.cking sense. Seldom has a film done such heavy lifting to such meager effect.

A frenzied, sometimes overreaching biopic that paints in bold colors on a huge canvas, the film stars a never-better Leonardo DiCaprio--as perfectly cast here as he was miscast in "Gangs."

With Bad, Perry is savvy enough to let riveting musical numbers by ringers like Gladys Knight and Mary J. Blige--along with Henson’s deeply empathetic performance--carry the film’s feverish emotions more than his characteristically ham-fisted screenplay.

Well-intentioned and exceedingly nice, Watermarks aspires to warm the soul, but succeeds only in numbing the mind.

It'd be tempting to accuse Rebound of neutering Lawrence, but the sad fact is that Martin Lawrence doesn't have a whole lot of comic genius to betray.

The tantalizing promise of 90 heavenly minutes of Ryan Reynolds in a roly-poly fatsuit and unconvincing tubby make-up (which make him look like a younger version of Martin Short's Jiminy Glick) proves a case of the old bait-and-switch.

Richard Wenk's familiar screenplay laboriously establishes Willis as an exhausted, limping shell of a man rotting internally from decades of alcoholism and self-hatred. Yet whenever the film requires it, Willis magically morphs into a super-cop with the lightning-fast reflexes of an 18-year-old Navy SEAL.

Goes to great lengths to show the man-child behind the barfly, but in its rush to deify its subject, it lacks critical voices and context.

A mess, a poorly paced, poorly structured, lukewarm comedy-drama that fails even to capitalize on the cheap nostalgia inherent in its plot.

A tonal mess, a kitchen-sink comic melodrama that veers from broad comedy to sticky drama without ever finding a palatable or consistent tone.

Lottery Ticket gets far on the strength of its star's charisma and a likeable tone.

Norton is a strong lead in an overwrought, mediocre film that trumps even Hannibal in its mercenary shamelessness.

A glossy, attractive, ultimately empty soap opera that -- despite being based on a true story -- never seems remotely plausible.

The film's sole redeeming facet is Mike Myers' rich, multilayered performance as Rubell: Simultaneously repulsive and charming, hedonistic and oddly paternal, Myers steals every scene he's in. It's a great performance that deserves to be in a much better film.

The film crawls to a halt, its pace further marred by anemic, time-wasting pop songs. Even at 72 minutes, Never Land feels padded, while the animators make Never Land so unmagical that war-torn London seems preferable by comparison.

A non-movie that seems to wash over audiences without making any kind of impression. Except for those it does impress.

Somehow both formulaic and bat-shit insane. It's sort of a given that films in this genre won't be rigorous cerebral exercises, but Simply Irresistible is almost hypnotic in its unyielding stupidity.

It’s practically a feature-length infomercial for the military.

There's something unnerving about the cult infamy of Mommie Dearest, a harrowing fact-based account of horrific child abuse that has developed a reputation as a camp giggle-fest of the so-bad-it's-good variety.

Jingle All The Way is one of the most mindlessly flailing films I’ve ever seen.

Perhaps the best thing about Naked City is that it does justice to that source material. At times, it rivals Weegee's best work in its harsh, unsentimental portrayal of New York as a city with a dark side the size of the Hudson River.

It's refreshing to see an American movie with an Indian protagonist not played by a white actor in makeup, but it would be a lot more refreshing if that actor (Jimi Mistry) were given a character to play, not just a comic conceit and near-toxic levels of enthusiasm.

Wonderland is to "Boogie Nights" what "Blow" was to "Goodfellas": an accomplished knockoff with all the tricks and none of the soul.