Peter Hartlaub

Contains so many insults to the audience's intelligence.

Devoid of thrills, and with nothing even vaguely frightening to distract moviegoers, it becomes clear that the story wasn't worth telling in the first place.

All the brains, heart and courage in the world can't save a movie that doesn't have a third act.

The movie is occasionally clever, but still inferior to last year's "Twilight" film, mostly because the story is so muddled.

Who wants to spend a minute on the Strip with the chance that there might be people as annoying as the characters played by Cameron Diaz and Ashton Kutcher walking around?

Captain Underpants is a very popular book series that doesn’t seamlessly translate to the big screen, and the filmmakers can’t solve this problem. The result is a cinematic wedgie: a little too dark, a little too nihilistic, a little too empty.

Mostly it serves as a comprehensive manual of bad places to hide from a masked killer.

While it's filled with quality actors, this James Bond tale for tweens feels like something you should be getting for free on television.

The movie is overly long and much too intense for small children, yet it's filled with dialogue and plot turns that are too juvenile to thrill adult audiences.

The narrative is a mess, and the overly long action sequences are easily forgotten.

The film Cirque du Soleil: Worlds Away highlights both the strains of the franchise and the willingness to promote the brand at any cost - including a coherent narrative. It's a big promo reel, and not a carefully disguised one.

The fight scenes are lackluster and the plot is needlessly complicated. If you're making an action film that centers on fast cars and fast women, it's usually best to keep the rest of the story simple.

The mockumentary-style delivery of a serious subject proves to be an unworkable mash-up.

The result is a well-intentioned mess -- a dishonest fantasy that begins with promise and gets more frustrating with every scene.

Aquaman continues to revel in the outdated 1970s superhero ideal that mankind is unquestionably worth saving. Add to that some awkward dialogue, a poorly conceived visual effects palette, and a soul-crushing and bladder-crushing 139-minute run time, and you have another disappointing entry in the DC Comics cinematic universe.

When You're Strange is a remedial Doors class, taught by a professor who sounds as if he's doing voiceovers for car commercials.

We get a lot of hapless victims in an expensive endeavor that is surprisingly lifeless.

May not be a very enjoyable movie, but at least the badness is in good taste.

Doesn't accomplish its objective.

Sporadic on-field violence is only a tiny reason that Gracie disappoints, but it's indicative of the film's greater problem. Producers Elisabeth and Andrew Shue seem so intent on creating a hero out of the main character and villains out of almost everyone else, that they've completely distorted reality.

By the end, I was adding my own internal "Deadwood"-style profanities to McShane's clean dialogue. "For the sake of the (God-@#$%) kingdom, cut it (the @#$%) down!" Movies about mile-high beanstalks shouldn't require additional audience imagination.

The 3-D 1D movie is aimless, seemingly deceptive and spreads a poor message: that it's OK to act extremely immature, as long as you have millions of blind followers who think it's cute.

This is the animated children's film equivalent of "Another 48 Hours."

While "Saw" and "Saw II" were pretty good splatter films hampered by spectacularly unbelievable endings, Saw III is annoying for almost the duration of the movie.

If there was ever a human being who needed a visit from the ghosts of Christmas past, present and future, this is the guy.

If you're no longer old enough to carry a Hannah Montana lunch box, this movie will feel like punishment.

The film is a plodding 2 ½ hours long, with an abundance of livestock gore, endless dental trauma and a violent sex scene.

A well-intentioned horror film that is weighted down by stellar cast members who for the most part act as if they don't want to be there.