Rick Kisonak

A good laugh is almost never a bad thing and almost every frame of Old School is grade A goofball fun.

Who's responsible for this comedy proving such a disappointment- Jack Nicholson, Adam Sandler or director Peter Segal? Nope. The correct answer: screenwriter David Dorfman.

Down With Love has little to offer besides hip sixties references better films have already made and made infinitely more hip.

Rowan Atkinson's spy spoof is wildly uneven and yet, at times, nothing less than wildly entertaining.

A fine cast, understated treatment and tantalizing premise make for a movie well worth seeing even if you don't come away believing.

Has its rollicking moments and snappy lines but even Pacino can't elevate them into more than a fleetingly juicy treat. This is a movie that desperately wishes it had been written by David Mamet.

Recycles a great many motifs from "Truman" but never comes close to putting on as good a show.

If characters with more than one dimension, a plausible story and some sort of viewpoint are moviegoing musts, you may leave 2012 feeling a tad shortchanged.

If you're looking for Rock's trademark smart-ass wit, you'll want to look somewhere else. Likewise when it comes to a movie with something fresh to say about the balancing act that is wedded bliss.

Aside from a few routine battle scenes, the movie's action consists mostly of people slogging slowly through non-stop rain. This is not interesting, much less exciting. The dialogue is hokey hero blather.

The pacing is brisk-something wacky happens every couple of minutes, the editing crisp and the effects promising. Then disaster strikes: the first act gives way to the relative witlessness of the second and third.

Campion and company may like to think they've made something provocative, moody and new but it's really just "Looking For Mr. Goodbar" with extra nuts.

Perkiness Alert! Much of the banter and many of the gags are amusing but Witherspoon cranks the perkiness to off-the-dial levels here and anyone with low tolerance for superpeppy movie do-gooders should consult a physician before viewing.

The men in this movie are little more than beer ad cliches going through Ford tough motions as though trapped in a bad country music video. There's not a realistic moment or character or performance in the picture.

Long before you buy your ticket to the new Jim Carrey film, you've already been doomed to disappointment. Several parties play a role in this. Interestingly, Jim Carrey isn't one of them.

There’s something fundamentally unconvincing and contrived about the story. Forget the fact that O’Connor hauls out every cliché in the bad cop handbook and the dialogue is more boilerplate than hard-boiled. The premise itself is just plain preposterous.

By the way, good luck making sense out of the final fifteen minutes. I'd say people were asleep at the wheel on this one but the film is so pointlessly all over the place that I'm not sure there even was one.

The first half of Luis (Angel Eyes) Mandoki's new thriller is as whiteknuckle, nerve-wracking as they come. The second is such a mishmash of overblown action and gaping plotholes, it's hard to believe it's the work of the same director.

Even by Hollywood sequel standards, this is lazily conceived, cynically recycled stuff.

The bottom line is the movie's a mess. Friedkin would like one to believe there's more than meets the eye to his tale of two trackers.

Gratuitously brutal, chronically preposterous, abysmally unoriginal, pretty much pointless and virtually 100% free of credible characters, Derailed represents career lows for its stars while marking an unpromising English language debut for its director.

Radio is a film many people may be tempted to laugh off as button pushing feel-good fluff. Before doing so, they might want to ask themselves just what it is they find so funny about a little peace, love and understanding.

This is a film which resonates on a surprising number of levels. But the level on which it undoubtedly works best is the victim-goes-postal-and-takes-the-law-into-his-own-hands level.

The best they were able to manage, apparently, was a grabbag of spectral sights and spooky touches grabbed from better horror films and a final act that raises more questions than it answers.

Figgis has spent too many years crafting thoughtful, innovative films to have much of a knack for storytelling this mechanical and many are the moments when he does indeed seem to have been asleep behind the wheel.

Spoof or tongue in cheek update, the movie squanders the lion's share of its time on tired, cartoon-quality sequences choreographed around ho-hum chases and explosions. None possess the satiric zip of Austin Powers-style parody.

Likely to exceed expectations.

This is shtick that’s minimally a generation past its expiration date.

New territory for the Vermont director, and he shows every sign of feeling right at home in it.

This is a movie that should have a medical warning in its trailer. Caution: viewing may be hazardous to your filmgoing fun; side effects can include drowsiness, irritation and difficulty swallowing.

Until this past Friday, the worst werewolf film ever made was, hairy hands down, Mike Nichols' "Wolf." Cursed now assumes that dubious distinction and someone is going to have to try very hard to wrestle it away.

It may not feature the funniest performances Stiller, Walken and Black have ever given but, these three guys giving performances just this funny is enough to make Envy a movie you'll end up kicking yourself for missing.

The film doesn't have anything but bad news for Spacey fans anxious for the actor to break a stinky streak.

By far the most appallingly cretinous picture in which Keaton has ever appeared.

Godawful mess.