Phil Hall

If Dogville has a reason for importance, it is the astonishing all-star ensemble who try very hard to put life into their cardboard characters and make this silly film work.

Reconfigured into a very different one-woman movie by Gibson and director Jeremy Kagan. Unfortunately, the transformation was not successful.

The Quiet is best for cheap laughs by jaded moviegoers with absolutely nothing better to do with their time.

Nothing more than a big old chunk of horse poop.

The primary problem with “Rabbit Test” was that it was based on a hoary one-joke concept – in this case, a man becomes pregnant. But Rivers had no clue how to take the concept and expand it into a flowing, coherent comedy script.

The film is professionally made but a thorough bore at every imaginable level.

Easily the most surprising comedy of his career. The surprise: it's not funny.

Thoroughly obnoxious and relentlessly unfunny comedy.

Sadly, the whole affair is little more than ennui with a pedigree.

More of a hangnail sketch -- no one can come away from this offering with a clue on what makes Wall Street click.

The one lesson learned from watching this film is that Canadians can make movies just as badly as anyone else.

An Italian-British-French-Spanish-Romanian co-production. A better argument against multinational cooperation cannot be imagined.

Writer/director Gary Burns offers a suffocating experience which is too boring to be accepted as a satire, too lame to be accepted as a farce, and too infantile to be accepted as a drama.

Perhaps it is a shame that no one thought of digitally restoring and theatrically releasing the sex videos that Crane made with the many women he pleasured...that would have been far more entertaining than anything found in Auto Focus.

Emily Blunt’s Victoria and Rupert Friend’s Albert come across like museum mannequins – utterly devoid of any genuine passion.

The new bad movie from Clint Eastwood which takes Dennis Lehane's best-selling thriller and turns it into an inert mess that clocks in at 137 minutes but feels like 137 hours.

While it would be foolish to expect a completely faithful Shakespeare adaptation from Godard, there is no pleasure in being fooled into thinking that this vague, obscure, annoying, cacophonous wreck of a film is anything but a joke being played by a self-indulgent filmmaker.

Typical of too many films produced in Israel: plodding, verbose, badly-made and completely monotonous.

A thoroughly awful Korean production which vainly attempts to recast the slam-bang conventions of American action-adventure flicks into the sticky world of contemporary Korean politics.

Clooney has littered his film with such a high quantity of mistakes that it is hard to know where exactly to begin finding fault.

Fans of prison flicks would do better to catch the HBO series "Oz" or the five millionth rebroadcast of "The Shawshank Redemption."

Painfully boring.

Tiresome, trite and choked with every lousy Dixie-fried stereotype imaginable.

Little more than a travelogue designed to show off the grandeur of the Hermitage, with the silly actors in fancy costumes getting in the way of the paintings and sculptures on display.

Bubble is among his (Soderbergh) worst films. What in the world was he thinking with this?

Has a terrible air of been-there/done-that.

It seems as if every possible cliche and story twist from any seafaring picture of the past 80 years made its way into this flick.

To its credit, the film's costume design is stunning. But unless you have a kimono fetish, there's no reason to pay a good dollar (or a yen, for that matter) on this junk.