Even the should-have-been-triumphant revelation of the Boogeyman arrives as a CGI letdown of epic proportions.

Inexplicable Fantasy Romances for the Harried Modern Gal 101 is a more fitting title for this shameless mediocrity.

Nobody Knows is the rare film that successfully tells its tale of childhood from the children’s point of view.

Thankfully, The Nomi Song should go a long way toward re-cementing this striking creature's legendary status.

The occasionally contrived music-video slicky edge, and the fact that there's no way on God's green earth that what takes place in Assisted Living happens in one day, it's a noble effort.

A film within a film encapsulated by a clever and very accurate anti-materialistic Buddhist morality lesson, Travellers and Magicians feels a bit like Chaucer's Canterbury Tales as retold by Siddhartha.

It's just the most inept filmmaking you can catch in theatres right now, or probably all year long.

It all falls apart at the end, however, and in such a loud and abrasive way that it makes Brian De Palma's "Raising Cain" look like a model of restraint.

Have we such short memories that we have already forgotten last year's feeble "Johnson Family Vacation?"

But for all the film's griminess and doom, bad behavior and bad luck, it's hope that engines Head-On.

It's never wise to try to one-up a classic.

The script is really the heart of the problem.

Not stupid enough to qualify as good, dumb fun.

Simply put, no matter what this zebra thinks of himself, Stripes is no thoroughbred.

This kindly and spirited film doesn't exactly break the mold of the heartwarming, humanistic boarding-school dramedy.

Remarkable and enlightening.

There's not much more to this poorly scripted thriller than exactly one well-done shock moment and Michael Keaton's eyebrows, but, to be fair, Keaton's brows have carried three Tim Burton films nearly on their own, so don't let this dissuade you from seeing the film.

The result is a riveting, eco-wise epic that'll do fans of both Ralph Nader and Katsuhiro Otomo proud.

Grace and Johannson's courtship has all the heat of a wet wipe and, worse yet, leaves Quaid offscreen for long stretches.

William Shakespeare's Merchant of Venice may help in bringing some of the Bard's language to life, but this rendition is hardly a freshman course.

Penn's Bicke is often so pitiable it's hard not to want to look away – but what else to expect from perhaps our most compulsively watchable contemporary actor?

The movie is toothless and uninspired, and as directed by veteran filmmaker Joel Zwick (My Big Fat Greek Wedding), the film is a disgracefully shoddy affair.

Eurotrash for the new millennium.

You can tell that everyone's whole heart is in this project, you just wish that a little more of the heart was conveyed on the screen.

The abundance of talent gathered for Meet the Fockers is sadly shortchanged by the unimaginative script and directorial laissez faire. It’s more like the audience has been snookered rather than Fockered.

One can't help but wonder how much better this film would have played straight, without its characters in seemingly constant song. God help us if there's a film version of "Cats" in the works.

Scrappy, powerful, and shocking.

One need not necessarily appreciate Darger's art to enjoy Yu's sympathetic, intimate, and often breathtaking journey into the workings of his mind.