Plenty of families harbor resentments, but the goings-on here become ridiculous. Which is too bad, because Cold Turkey has the seeds of a good movie.

This "Transformers" is better than the second film (though that's not saying much), with some enjoyable bits here and there.

While Below Her Mouth is no doubt some classy-looking porn, it’s a pretty lousy movie, because all that sex leaves precious little time to develop character, plot or thematic depth.

How much of this is actually funny is a question of taste, but even a confirmed Perry hater might get caught laughing once or twice.

Breaking In is a shallow nod to female empowerment, not the embodiment of it.

There is a lot of yelling and emoting and it all gets strident very quickly — as in, the first 10 minutes. Hogan keeps everything self-consciously quirky, with lots of bright primary colors all over the place, but it feels like wild overkill.

The problem with movies based on a single joke is that a single joke is rarely funny enough to sustain the running time of a feature-length film. And with Abraham Lincoln: Vampire Hunter, the whole joke is in the title.

The House That Jack Built is more than just an epic piece of cinematic trolling; it’s von Trier taking a microscope to his creative process in all its obsessive ugliness, creating a sophisticated meta-commentary on his art and daring the audience not to be entertained by his extreme indulgence in all the predilections for which he’s been roundly criticized.

It's funny enough, and Grace is an engaging actor, always making a good impression but never quite getting over the hump to become the star it seems like he ought to be.

The cast is intriguing, with Uma Thurman, Christina Ricci and Kristin Scott Thomas as the targets of Pattinson's ambitious amour. But they're not given a whole lot to do -- at least not much that's interesting.

Despite its familiarity, A Bad Moms Christmas is a touch better than the first bacchanal.

Suburbicon is a hybrid of two ideas — two movies, really — and it isn't clear whether either would have worked separately. What is clear is that they don't work together.

There are some fun bits in the film. Law is kind of funny, in and over-the-top, does-he-mean-to-be-like-this way. Hunnam is game for playing Arthur. But Ritchie, in his attempt to ensure there’s never a dull moment, makes it all exhausting.

The look of the film is impressive, as are the effects. Overall, however, it's a big, loud, 3-D-drenched jumble.

The movie falls flat, playing like the best-cast bland romantic comedy you've ever seen.

Memory is a good-enough movie that could have been a lot better. Neeson is to thank for most of the good. Turns out he, like his characters, does have a particular set of skills. They involve acting.

For a movie that aspires to be heartwarming, it sure does inspire a lot of eye rolling.

The worst thing about What to Expect When You're Expecting, director Kirk Jones' fictionalized film version, is how fake it is, how cartoonish the experiences.

Dumb fun can be, well, fun. G.I. Joe: Retaliation is way too much of the former and not nearly enough of the latter.

Turns out there can be too much of a good thing. Or a campy thing. Or a silly thing. Or a subtle-as-a-brick-in-the-face thing.

The movie drags on way too long, but there are things to like.

Home Again is a romantic comedy with its heart in the right place. And that’s just about the only thing it has going for it. It’s facile, disingenuous, artificial in nearly every way.

While the good outweigh the bad, it's a close race. But what is good, particularly a heartbreaking performance by Allison Janney, is really good, enough so that Colfer emerges as a talent worth watching on the page, not just on the screen.

The Purge is one of those unimaginative horror flicks that depend on skreeky music and sudden appearances to startle, but never actually frighten, the audience. The characters are undeveloped, the twists clumsily telegraphed and unsurprising.

Pacino, long ago having given up subtlety for bombast, continues along that path here, but he's still fun to watch.

You can practically see Hart straining to break free of the script and let loose with a wild improvisational rant, and you never lose hope that he might. (Spoiler alert: He doesn’t.)

Without Remorse is neither a classic nor a failure; it falls somewhere in-between. But like Kelly on a seemingly doomed mission, there’s Jordan, giving it all he’s got to save the day.

With Sarah Palin: You Betcha! director Nick Broomfield manages to screw it up.