Either way, Beatty has taken an object of enduring fascination and made him … not so much.

Sure, Double Team is a mind-numbingly silly outing, full of gratuitous violence, testosterone-fueled goonishness, and acting turns that make TV's Van Patten family look positively Emmy-bound, but lest we forget, it's also pulse-pounding, often hilarious fun.

Though there is plenty of razzle-dazzle onscreen, Nine is unlikely to ignite many sparks among viewers.

It’s so amiably predictable that you end up wanting to throw some Motörhead at it, just to see what happens.

As an extended metaphor on the perils of imperialism and the colonization of both land and heart, Before the Rains works just fine, but as a love story run afoul of the times, it's a soggy affair.

Australian actor Courtney does the honors as the younger McClane, skillfully matching Willis in action sequences, one-liners, and more extended repartee.

All in all, though, this Brazilian import is a small curiosity, intriguing more for its failures than its accomplishments.

Nicole Kidman, as good as she is, is given little to do in a one-note role, but fares better than Julianna Margulies who appears merely in a one-scene role. Kevin Hart’s huge number of fans may push this film to early box-office success but eventually they are likely to toss it into the untouchable pile.

The trouble with retooling fairy tales to jibe with our more enlightened times is that too often the fun gets stripped along with the offensive parts.

If only Fight or Flight knew that what it does best is hectic mayhem then maybe it wouldn’t be such a bumpy ride.

Max Reload isn't for everyone, but it's not trying to be. It's a pizza-and-soda Saturday night gamer film for serious gamers - not the kind that just grind through bug releases, but can name a developer other than Hideo Kojima.

I’m afraid there’s more than 2% evaporation going on in Loach’s latest.

The film's "never grow up" refrain plays like a broken record, until, in an abrupt (but not unexpected) turnaround at film's end, it fixes itself.

Feels like the little animated adventure nobody loved.

Never breaks out of its dullsville rut.

There's nothing terribly wrong with Kate & Leopold -- it's just an awfully conventional upmarket romantic comedy.

The film's voice talent is good, as are the characterizations. However, the film's computer animation leaves much to be desired.

If you loved "Wedding Crashers," then, for all intents and purposes, you've already seen Fired Up – because this new movie borrows from the 2005 Vince Vaughn/Owen Wilson hit with such utter shamelessness, you have to wonder if royalty checks are already in the mail.

Former New Jersey Gov. Jim McGreevey and Outrage argue that the closet suffocates decency and happiness, and the film ends with a freeze-frame of the now-popular folk hero Harvey Milk. However, were we to give up our right to self-denial, I contend that America would cease to be a land of freedom.

Its ultimate message is as French as they come: The family that lays together, stays together. What the hell, it's more fun than a riot.

Colorful and a passable drama, one that highlights the difficulties of cross-cultural love affairs and the exoticism of the Third World.

Heavy-handed and stuffed with cardboard characters, everything about Twisters save for Powell feels like a pale imitation of what made the original such an unexpected smash of a disaster movie. Lightning definitely does not strike twice.

I've short-sheeted beds and belted out camp songs with the best of them. Indian Summer made me long to be back in one of those gloriously rickety, mildewed cabins in a lush, rural forest. Provided, that is, I wouldn't have to bunk with any of the stupefyingly self-involved, gee-how-can-I-be-happy-with-all-my-wealth-and-beauty morons that Camp Tamakwa apparently produces. Despite tantalizing ingredients like the beguiling cast and spectacular scenery (the film is shot on location at the real Camp Tamakwa in Ontario's Algonquin Provincial Park), writer/director Mike Binder serves up an unappetizing concoction of Big Chill and Ernest Goes to Camp stew.

The performance are uniformly wonderful, making Sommersby solidly entertaining though never engrossing.

It’s redemption through sentimentality, salvation through schmaltz.

For the most part, The Loft struggles to engage even on the level of tawdry potboiler, joining the forgettable ranks of 2005’s "Derailed" and 2008’s "Deception" as yet another underwhelming one-night stand.

Despite employing every cliché in the sports-movie handbook, Goal! The Dream Begins tells a reasonably engaging story.

Terrific performances can't save this preposterous film from itself, but they do make it more bearable to watch.