Pam Grady

An amiable endeavor, if something of a puff piece.

To call this so-called family film dreadful is an understatement. Jaw-droppingly awful on almost every level, this is a movie to avoid.

Sometimes hilarious, occasionally outrageous and terribly uneven.

Good Neighbors' greatest strength is that even when the plot becomes too obvious and the thriller aspects fall apart, it can always wrestle a laugh out of you.

Writer/director Chris Ordal's debut feature is not a documentary nor is it precisely a biopic. Instead the drama captures the artist at a pivotal moment in time.

The movie never strikes a balance between its comic and dramatic halves and that dooms it. It is an almost good film that flounders, because there is no treatment for tone deafness.

By focusing on the human aspect of Al-Qaeda, The Oath does give the viewer something to think about, but the film is unsatisfying, raising questions and providing too few answers.

This sci-fi thriller manages to blend genuine suspense with unintentional laughs.

The movie's true horror isn't the murderous extraterrestrials, but the lame script.

The positives have an edge over the negatives, but it probably doesn't matter either way. It is an Adam Sandler movie.

An historical drama so swamped by its soap opera crescendos, no resonant story can survive the wet.

The doc has won a host of awards at film festivals and it is a policy wonk's dream of a movie, but it is dry, statistic-laden viewing that is unlikely to attract much attention beyond education circles.

This story of a hit man who wants out after performing this one last job is so threadbare, trite and predictable that not the star's formidable charisma nor the considerable talent of director Anton Corbijn can come close to erasing its deficiencies.

Isn't very funny or much fun at all.

Waltz is the highlight of this glossy but plodding drama, a live wire in a movie that sorely needs a jolt.

The problems begin with Shyamalan's script, which is an orgy of exposition. The characters explain and explain and explain some more, points driven home with the subtlety of a jackhammer.

The melodrama is tiresome, overwrought and clichéd.

A talented cast is game, but the lazy script utterly fails them.

Thompson's brutality and misogyny are on full display, but it is too slick, there is little suspense or energy, and the whole affair has a curiously embalmed quality.

A movie that ought to entice people to want to travel with Gulliver instead inveigles them to run from him.

Poor word of mouth should doom it for a quick ride to DVD oblivion.

A mess of a horror movie that spent several years sitting on a shelf and should have remained there living up to its fullest potential as a dust magnet.

The dismal reality is that this romantic drama is a disaster, a dour "When Harry Meets Sally" that tries to jerk tears out of the story of a man and a woman who go from friends to lovers.

Unlike "The Lost Boys," there are no bloodsuckers in Twelve. Instead, it just sucks time: 98 minutes to be exact that you can never get back.

The movie's simple-minded lesson that forests are good and development is bad is undercut the minute one pauses to think about how many natural resources were wasted on this sorry excuse for a motion picture.

A pathetic thriller and lame social satire that suffers from abysmal writing, poor pacing and terrible acting, even from the normally reliable Sean Bean.