Peter Hartlaub

This movie could really use an Avon Barksdale, but even actor Wood Harris, who played drug kingpin Barksdale in "The Wire," seems a bit lost.

Sin City: A Dame to Kill For is still a visual buffet, but adding 102 more minutes of double crosses, slow torture and hookers with hearts of gold just exposes the tediousness of the exercise.

Basically torture porn.

To enjoy it you almost have to be stoned on marijuana.

It's a homemade protein-and-steroids smoothie of a plot, combining elements of gore, self-parody, 1990s nostalgia overload and an attempt to say something -- while actually saying absolutely nothing -- about the American dream.

Cuesta’s direction is all blunt objects, like a doctor performing surgery with a plastic fork from Burger King. But he shines in the more testosterone-charged scenes, including the opening terrorist attack with its tracking shots above and below water.

The makers of Into the Blue know what the audience wants. And they deliver a little bit more.

A film so self-centered that even the director's most dedicated stalkers might find it a bit too narcissistic.

Despite a decent cast of mostly British voice actors and better-than-average computer animation, the movie seems rushed at 76 minutes and is only marginally funny.

Bornedal invests so much time in the characters - Jeffrey Dean Morgan and Kyra Sedgwick play the split parents of the girls - that there are times you will forget this is a horror movie. It's Kramer vs. Kramer vs. Lucifer.

A throwback to all those guilty pleasure action movies.

The high school comedy/drama morphs into a slasher movie, then morphs into a time-traveling/body-switching/world's-about-to-end science fiction story. Everyone on the set must have been chugging Mountain Dew between takes. I suspect that the editor was hooked up to an IV of the beverage.

It isn't smart or even very scary.

There are a few laughs and some touching moments, but nothing you couldn't get by watching episodes of "Good Times" and "Little House on the Prairie" back to back.

Belongs in a less ambitious category of sequels, alongside the creatively lacking “Alvin and the Chipmunks” and “Ice Age” movies.

By the time the sex actually starts, any sense of tension or anticipation is gone. It's the rare orgy that feels like an anticlimax.

Nowhere near the worst film of 2013, but it is definitely the most exhausting.

This isn’t close to being a great movie. But if you don’t overthink it, there is some fun to be had in the grisly consequences.

Perhaps worst of all, the movie is painfully long.

The movie is not as good as his recent low-budget effort, "Diary of the Dead," but there are enough moments of satire and coolness - two Romero hallmarks - to merit recommendation.

Rough around the edges, but once you get used to the laconic pace, the plot grooves along nicely.

The remake is a solidly crafted movie with a lot of good scares, but it also raises the question: Why even bother with an update?

Just funny enough.

It's a well-meaning but ultimately feeble and misguided attempt to say something profound about the aftereffects of the 2001 attacks on New York.

Poorly written, contains too much hero worship and profiles too many events - including one that combines the high jump with motorcycles. But the documentary generates a remarkable amount of goodwill with its stunning visuals, which look breathtaking in 3-D.

A ridiculous teen horror movie that piles on more than enough dry humor and freshly moistened gore to satisfy its lowbrow audience.

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

Won't make anyone forget "The Shining," but it's a nice throwback to the days when scary movies featured pretty good actors, a plot that holds together and a couple of creepy-looking ghost kids.