Robert K. Elder

Evil isn't this boring.

Knoxville, Jed Rees and Bill Chott act daffy and more impaired than their counterparts, and that never sat right with me. This may not be the equivalent of acting in blackface, but it's awfully close.

Commits the cardinal sin of all bad IMAX films: It favors visuals over narrative, glitter over substance.

Jakes' characters are points to be made, flesh and blood cautionary tales that don't particularly feel human. His dialogue, even in the mouths of Michelle and her troubled mother, sounds as if it comes straight from the pulpit.

Limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very, very slowly.

Tries hard to be sweet but plays like "Pollyanna" with fleas.

Anytime Jaa isn't on screen, The Protector sputters.

Against the rest of his dramatically flimsy crew, Snipes' sunglasses-at-midnight strut conveys an almost lifelike sheen. Almost. He's more alive than the movie, which is dead on arrival.

Plays like an amateur debut effort written over a weekend during which its writer wasn't entirely sober.

Is it a political movie? Yes. A movie with strong ideas and issues? Yes. But propaganda with its heart in the right place is still propaganda, and seldom easy to watch.

Black delivers the best line (“Do you want me to get naked and start the revolution?”), and Lithgow scores a giggle for calling his ex-wife “coyote ugly” to her face, but neither of them can disguise this lemon.

If "Mean Girls" was Lohan's debutante ball, "Herbie" sits her back at the kiddie table. She's matured, and no longer fits in the Disney mold.

Against "Whale Rider's" well-acted, intimate story, Gordon's film feels like an endless spiral of sub-par soap-opera acting, mired in trite, predictable dialogue.

Like all B-movies (or in this case, pseudo B-movies), "Skeleton" contains sparkling moments of promise and camp performance.

Released in theaters five years after its 1999 Sundance Film Festival premiere, Kalem's film is too precious, too self-conscious and far too enamored with itself to ever have any kind of genuine emotional truth.

This low-budget comedy will most likely try the patience of a paying audience with its uneven pacing, wavering tone and poor production quality.

If "American Beauty" were a bland comedy, it would be Joe Somebody.

Were it not for young star Amanda Bynes' energetic good nature in the face of drab dialogue and wooden stereotypes, What a Girl Wants might have been a career-ending movie violation rather than just an embarrassing fender-bender.

With Clockstoppers, Frakes hobbles along with a high-concept film that doesn't live up to its potential.

Caruso, who showed flair in the Val Kilmer vehicle "The Salton Sea," has a penchant for the dark side. In this case, it's the plodding, predictable ZIP code of the dark side.

Even as slapstick, it's a major snoozefest.

Though The Kid & I falters as both a comedy and an After School Special, it works as a rather touching episode of "This is Your Life," with a parade of cameos from Arnold's career that'll coax a sniffle or two from his family.

When a movie keeps repeating its title, you know it's a stinker.

Serves as both an homage to and shameless thief of its influences. The result: a sprawling, deformed, undisciplined piece of cinema that hobbles along on weak, genre-splicing tactics.

Might be justified as "mindless fun" if it weren't for the acute lack of fun in its 93 minutes.

Replete with audience-insulting writing and blatantly hateful jokes, storytelling like this makes most video game plots look like "Moby Dick."

Good performances in bad movies are nothing new, but it's sad that Moore's first major cinematic outing scrapes the bottom of the melodramatic barrel.

Ultimately, Stateside ends up a diluted, scattered drama--less than the sum of its parts, but with an impressive cameo list.