Randy Cordova

Agonizingly stupid and painfully illogical.

Newbie director Aleksander Bach handles the project with a competent precision. The film doesn’t rise above the genre and the plot is muddled, but he pulls off the basic elements with a distinctly chilly European style.

Director Enrique Begné, who helmed this year's winsome "Busco Novio Para mi Mujer," directs with an emphasis on action over comedy. Sometimes that feels misplaced; the stretches without laughs grow increasingly longer as the plot moves forward. But he keeps things enjoyably fast-paced, so it's hard to complain too much.

The visual effects are impressive, and there is a certain kick to seeing the human characters dodging barrels in a life-size Donkey Kong. But we don’t really care about the humans; here, at least, Q*bert is more endearing than Adam Sandler.

At first, it’s fun and shiny, then you’re left with a crumpled mess on the floor.

Strangely, almost everyone must have been in the middle of some weird creative dry spell. Some stories are pretentious, some are annoyingly whimsical and some are just out-and-out obnoxious.

Olivier Megaton (he helmed "Taken 2") starts things off at a sluggish pace and never picks up speed. Even the action scenes, which often are filmed in jittery fashion, don't generate thrills.

Elvis Presley made some bad movies, but let's give the King his due: He never made anything as outright awful as The Identical.

Despite competent performances all around, you never feel much chemistry between the actors.

This wildly distasteful premise is meant to be cute and enlightening, like a modern Frank Capra flick, but this is hardly "It's a Wonderful Life." Instead, the movie keeps tripping over itself.

The whole thing is a total bore; even the supporting players aren’t motivated enough to attract attention. That’s good news for Lutz; he can’t be blamed for torpedoing the project, because everyone is doing subpar work here.

It’s hard to imagine another comedy coming along this year that is this abrasive and free of laughs. It’s like everyone involved intentionally tried to create a horrible movie.

Perhaps because the bar was set so low, Mother’s Day turns out to be surprisingly watchable.

The project drips with sincerity, which isn't necessarily a bad thing. What doesn't work is the tin-eared dialogue and the utter lack of momentum, both in the script or the direction by Nikita Zubarev.

The filmmaker's seeming lack of skepticism makes for rough going if you don't buy into Kenyon's vision.

Everything is lathered with a syrupy, string-laden musical score designed to gnaw at a viewer's tear ducts. It's about as subtle as having an off-screen narrator yell "Start crying!" before big scenes, and probably as effective.

Written, produced and directed by Christopher Nolen, who gives himself a small role, the movie fails as both a comedy and morality tale.

Everything feels pat and oversimplified, with no gray areas. That's not uncommon in films of this nature, but Christensen is unable to make the movie feel like anything more than propaganda.

If you’re a major fan of the "Love Live!" world, this is possibly enjoyable. If you’re not, it is shrill, garish, confusing and badly paced, with cheap-looking animation and characters that resemble Walter Keane’s big-eyed waifs.

The cast is excellent, anchored by the one-two punch of Colunga and Yañez.

The characters are fully rounded, and you wind up emotionally invested in them.

Somewhere, deep inside Justice Served, there is the kernel of an interesting idea. But you've got to look hard, because the finished product is pretty dire stuff.

It is high-spirited, buoyant and full of laughs.

It’s a genial, pleasant farce that grows more enjoyable once it calms down and stops being so frantic.

¡He Matado a Mi Marido! seems to be inspired by the kind of bold comedies that Pedro Almodóvar specializes in, with divas at center stage and madcap situations. But writer-director Francisco Lupini-Basagoiti is no Almodóvar, mistaking stupidity for zaniness.

The screwball plot is woefully thin and predictable, with inane situations and characters who barely act human.