For a movie focusing so intently on personal faith, it doesn’t much trust your independent capacity to find religious, spiritual, or other meaning in what is truly an amazing story.

If Affleck stumbles, Smith's script does nothing to catch his fall. Surprisingly, Smith's truest talent – that of writing – is Jersey Girl's weakest link.

Delgo is a dud.

A movie designed without a proper foundation -- it feels as though it might crumble at any minute.

Rising Wolf gets so caught up in the idea of a supposed potential franchise that it forgets to make you care about the film you’re currently watching.

It's all a bit of overkill.

It's never a good sign if you're watching a thriller, and your first thought is, "Is this supposed to be funny?" So goes the comically overblown The Vanished.

It’s cheesy and contrived, but even the most watered-down stories retain elements of the original masterpieces.

Coppola never manages to get his themes to coalesce into anything terribly coherent.

It's not just that this is poorly timed: there would never be any good time for this level of monstrous clumsiness and obviousness.

Surely something more original than this could have been mined from the history of North America’s largest and most professional police force. As it is, though, Johnson’s film is just firing blanks.

There’s something earnest and forthright about the movie, despite its misguided execution.

Those obsessed with first-person and screenlife films may want to explore Profile from a strictly technical standpoint, and they are welcome to do so. Everyone else can avoid it entirely.

Unfortunately, it's also graceless and predictable, with absolutely no surprises between the start of the family's off-road adventure and their inevitable rescue by park rangers.

The third time is definitely not the charm.

A mildly diverting comedy but has little of real substance to recommend it.

The fictionalization of their journey is simply not that engrossing, nor are their alter egos, with their tightly scripted character arcs.

How much better this would have been had someone like Brian De Palma stepped behind the camera.

These elements fail to rescue Multiplicity from its moronic plot devices, orchestrated by husband-and-wife writing team Chris Miller (National Lampoon's Animal House) and Mary Hale. Despite my better judgment, each movie with Andie MacDowell makes me think that she'll have improved her acting skills. Unfortunately, Multiplicity proves me wrong once again.

Franco Zeffirelli's contrived autobiographical film about his youth in fascist Italy has little social grace -- it's embarrassingly awkward, like a dilettante playing the doyenne.

The lengths to which a parent will go to save a child can be gut-wrenching stuff, but Waist Deep rarely hits you in the pit of your stomach. Blame it on the lame screenplay, which unwisely (and badly) gravitates more toward the crime-spree elements of "Bonnie and Clyde" than the fierce parental instincts of, say, "Kramer vs. Kramer" or "Lorenzo's Oil."

Across-the-board, the kids are extremely adorable to watch (not an easy thing to pull off) and will appeal to the other kids in the audience who might identify with them and see the story from the kids’ point of view. But looking at this film from any other perspective, will give you brain rot.

Stuff the cork back in: This wine movie was sold before its time.

Not even this sprightly cast can buck the privileged sense of entitlement that bedevils this movie. Don’t count on the impish humor that Simon Pegg has unleashed so successfully in other movies to save the day.

The sequel is not as bad as the original, but it doesn't have to be much to accomplish that small feat and it isn't.

This pseudo-Phildickian actioner is chum for the bigger fish to come this summer; for Moore, it's a slummer.

There's not much spunk here.

The best that can be said for this one is that we’ve seen plenty worse of its kind.