Pete Vonder Haar

Honestly, this movie would've worked a lot better had the Red Sox not won the World Series.

Writer-director Clément Michel can't escape the usual infant-related movie pitfalls.

Plays like a 108 minute episode of Hawaii 5-0, minus the exotic locale.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

The question isn't whether Nispel's remake is better than the 1980 original (it isn't) but whether anything original is brought into the mix. And minus a mild plot twist you"ll probably see coming from the first five minutes, there isn't.

The unique setting aside, there's just not much to sink your fangs into.

Predictably ridiculous.

Doesn’t break any new ground – it actually steals from half a dozen other sci-fi movies – but it’ll make enough at the box office to justify further game flicks.

For an origin story about one of the most compelling and important characters in history, The Nativity Story is pretty damn boring.

What, a white woman can’t take an innocent drive through the ghetto without arousing suspicion? What’s this world coming to?

The original “Elizabeth” was visually lush and quite engaging, but this is a sprawling mess.

Very little in Reservation Road ultimately rings true, which makes the anguished theatrics on display that much more exasperating.

The Wicker Man isn't all that bad a movie; it's visually striking and ambitious in some ways. It just fails to bring enough to the table to fully distance itself from the original.

For my money, no movie comes close to capturing the high school experience like "The Substitute."

What Flags of Our Fathers is not, however, is moving, evocative, or very unique.

The release of Fantastic Four marks the beginning of the end for movies based on Marvel Comics' upper tier of characters.

The problem with Sandler’s latest movies is that he now feels the need to inject some sort of dramatic conflict in order to complete his character’s shallow story arc of maturation/redemption. Introducing such mawkish sentimentality causes the humor level in his films, never that elevated to begin with, to sink like America’s credibility overseas.

The real problem is that Sex and the City is, except for a few laughs, mostly just irritating.

Depressingly inert.