Robert Koehler

Nonsense, hysterics and many cuppas spill in Caffeine, an ensembler that serves up a menu's worth of forced and trite situations.

A quasi-metaphysical revenge Western that remains as elusive as a distant mirage on a long, dusty trail.

Suffers greatly from both a visibly constrained budget and an extraordinarily dated feeling.

Murphy's story lacks even the basic form that held most of "The Nutty Professor" together.

This tale of mismatched lovebirds begins with considerable charm but eventually loses its winning ways with an excess of ridiculous elements.

Writer-editor-director Paul F. Ryan makes the mistake of focusing on an ungainly and, finally, unplayable verbal match between two high schoolers.

A romantic-comedy melodrama that’s too gentle by half.

A dumbed-down remake of Kiyoshi Kurosawa's disturbingly abstract Japanese horror film.

Commits any number of comedic violations during an aimless pursuit of laughs.

Rude, crude and, uh, cosmopolitan, Deuce Bigalow: European Gigolo waves the flag for R-rated politically incorrect studio comedy but doesn't top the laugh ratio of the first Deuce misadventure.

At the most basic level, Boricua's Bond is at war with itself.

Tries to salvage its dopey premise with frantic final-reel plot contortions.

Awful and subversively spunky at the same time.

Launched with a few surprising touches and a disturbingly bloody prelude, horror pic collapses under the weight of its own dull conception and weak direction, dialogue and character portraits.

Utterly lacking the drive and roller-coaster energy expected of top action pics, this latest try at repackaging "Speed" is a Kmart version of a Jerry Bruckheimer production.

There are stiff politicians and there are stiff political movies, but the rigidity of the White House-based fairy tale that is First Daughter is in a category even pollsters may have a hard time assessing.

Demonstrates no improvement or enhancement. But the action this time is even less inspired than past battles

Mansion's drab comic strokes and narrative render the movie almost superfluous.

Although Erica Beeney's script beat out more than 7,000 entries, the screen version dulls her potentially distinctive voice with deadly doses of sentimentality.

A much more intense action vehicle for hero Ash Ketchum and his band of pocket monster trainers than its leaden, sometimes claustrophobic predecessor.

Technically and comedically strained by the demands of its special effects-filled haunted house setting. Worse, the need to top the first pic's outlandish stunts is ghoulishly unfulfilled and terribly ironic.

Doubly disappointing considering that it marks the first feature by Rwandan filmmakers to address the country's 1994 Hutu-on-Tutsi genocide, Kinyarwanda awkwardly and fitfully patches together a half-dozen story strands meant to provide a panoramic view of war and reconciliation.

The rags-to-near-riches saga of "Goal!" has turned into a risible riches-are-awful tale in Goal II: Living the Dream.

In recent years, Steven Seagal has been steadily losing any firm standing as even a B-grade actioner icon, and by the genre's most basic standards, he now displays a visible fatigue and lack of interest that proves deadlier than any of his hero's skills.

No cuddly, funky "Pokemon" pocket monsters populate this pic; this game is for the big kids, rife with a ruthless tone, heightened violence and cold calculation. However, fans will put up with a dull tale to finally see their obsession on the bigscreen.

Overshadowed by vastly superior sports movies like Invincible and hardly disguising its low-budget sources, pic isn't in any kind of shape for the theatrical leagues.

A remarkably boring comedy.

Stuffed with attitude but just as hackneyed as the original, Love Don't Cost a Thing brings a year of exceptionally lame youth comedies to a fitting conclusion.