Wesley Morris

This isn't a genre-less character study, it's myopic romantic comedy, and watching a woman of Catherine Zeta-Jones's easy carnality and fathomless beauty compete for the attention of Gerard Butler, who's pining for Jessica Biel, is dismaying, like spotting Anna Wintour in line at a soup kitchen.

The Strip makes you appreciate what hard work effortless comedy is.

For Hilton haters, the stupid and grotesque remake of House of Wax will only stoke their schadenfreude.

The lack of sexual tension is astounding.

Stardust certainly could have gone somewhere fun. But the magic and zip you need to get a blimp like this off the ground is scarce.

The casting alone should warn you about what kind of bottom this movie's going to hit.

The movie treats trysting as comedy and yet is stingy with the laughs.

Boring, mediocre movie.

Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.

Swing Vote is a satire that's afraid to satirize.

It's doom that we're meant to feel here. And repulsion. I hate to say, but I shrugged.

Like so many of these farm-raised films, this one looks polished, but takes no risks, offers no surprises, and contains a final sequence that's laughable for its lack of courage.

Between fights, the film can't even rely on the luxury of Lindo, Isaiah Washington, Russell Wong, Rottweiler rapper DMX or the scary Henry O as Han's father to make it watchable - the dialogue is wreaking more havoc than Li.

There is much to learn from Picasso and Braque Go to the Movies. First, a wealth of sharp professorial minds and great artistic eyes is no guarantee of equivalent documentary moviemaking. Second, when making a sort of thesis statement, it helps to have a thesis.

You could cast this movie with potato chips and still get cheers when one of the bad guys is cuffed. It doesn't matter that none of it is to be believed.

It’s a fascinating story: part genetic mystery, part socio-racial tragedy. However, Laing’s life, despite its inherent melodrama, does not automatically lend itself to the screen.

Watching the movie made me long for the big , risky ideas and entertainingly fearless filmmaking in David O. Russell's "I Heart Huckabees " and Spike Jonze's "Adaptation ," which Kaufman wrote. Both were similarly conceptual escapades, but they let it all hang out.

The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.

The movie is a work of ambivalence. Is English making fun of these women? Or is she making a pilot for Lifetime?

Good Deeds is the first of the 11 movies he's written and directed to try a one-tone-fits-all approach. Sadly, that tone is funereal, and it's always a beat out of step with the rhythms of both real life and most movies.

Watching Granger and Priya chase each other around a hotel like squirrels in a park, you wonder what these two see in each other.

A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."

Franco can be exhilarating in movies -- tremulous, unhinged, a little wild. Here his jaw never stops quivering and his eyes stay welled up, advertising a breakdown that never comes. Not that Myles has a presence a man would fall apart over. She's too professional to drive anybody crazy.

It's actually a pretty lousy thriller.

Finding Home is well meant and earnest but is stretched to almost twice what would have been a comfortable length.

Seeing her (Kidman) in junk like this is a bit like watching the Queen of England eat a Taco Bell chalupa.

Noe's summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ''whatever'' up on the screen.

The horrible anticipation he [Aja] builds is derailed by a gimmick that makes the twist in, say, ''Fight Club" seem perfectly logical. To say more would be to ruin the movie, and why should I do that when its own makers have done it for you?