There's an interesting story here, but Joffe never firmly wraps his arms around it.

Busy and boring and oppressively computer generated, Justice League screams we’re back to business as usual.

So yeah, the great man is welcome on our screens any day. On the other hand, Carpenter's comeback packs very little of his usual cinematic flair. It's not even all that scary.

Sitting through the film was an exercise in confusion.

Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.

Unlike its multifaceted director, the film never stretches its boundaries.

It's confused and confusing, by turns hilarious and off-putting. In short, it's awfully hard to love I Love You Philip Morris.

Unfortunately, after those first 10 minutes it’s all downhill for I Am Legend, as the film descends into a monster-movie malaise starring a horde of balding CGI monsters that look like refugees from a video game and that will scare absolutely no one, save those who worry that green-screening is ruining the movies.

It's fascinating how an innocuous film can suddenly flare up into offensive claptrap.

This might not matter so much to the youngest members of the audience, but for anyone over the age of 10, it’s strictly a colorful bore.

From the creature FX to the stilted dialogue, Sleepwalkers offers nothing new for horror fans to sink their collective fangs into.

House has a few moments that ring genuinely eerie, but the cluttered, unconvincing dialogue – not to mention Moseley's ongoing penchant for crazed overacting – make it more of a genre curiousity than anything the "Fangoria" gang would likely want to sit through.

Director Munroe (TMNT) is clearly a fan and attempted his best on an admittedly limited budget, but some things just don't translate that well. Throw this dog a bone? No need, he's already got a closetful.

Isn't teen heartache confusing enough without adding into the libidinal mix a bunch of buff scullers nicknamed the Queerstrokes?

It's a pleasure to watch, but I found myself wondering if having a story here even mattered to the director at all.

Learn from the Evers family: The Haunted Mansion is not worth the detour.

While this approach might make for an exciting celebration of the genre, it unfortunately leads to a rather lackluster and repetitive documentary unlikely to capture the interest of anyone other than devout followers of Christian music.

As cold and unseemly as that stiff found in the shower.

There is a new definition of the term, "critic-proof movie," and it goes by the name Pokémon: The First Movie.

This could be a pilot for the WB. Hollywood choreographer Fletcher makes the jump behind the camera but displays a greater aplomb for staging than drama, and the movie is as fleeting as the last weekend of summer.

There’s only the faintest glimmer of Rock’s talent for piercingly funny humor here, a shortcoming for which the comic can only blame himself, given that he also produced and directed the movie.

The Nines is the feature-film-directing debut from screenwriter John August (Go, Big Fish), but it feels much more like some Bizarro World collaboration between Jean-Paul Sartre and Charlie Kaufman, and not in a good way, either.

Flipper's story is a tired fish tale.

This film slips and sloshes around in such ways that you really can't figure out its take on the unfolding and ill-fated story.

How many screenwriters does it take to screw in this dim bulb? Five – no joke – and another one credited with “story by.”

Most of the actors seem to have been issued one facial expression at the beginning of the film, along with pain-of-death instructions not to change it under any circumstance.

Despite the filmmakers' efforts to humanize Wilson, however, Bill W. still dabbles in hagiography, valorizing the man while also painting him as a reluctant hero.

The obnoxious enthusiasm of Rise of the Gamers (which literally calls the day traders “heroes”) misses the point that those day traders are playing the same game as the big hedge fund managers.