The one perfect aspect of Jennifer's Body is its title: No one is going to like this movie for its brain.

It's a bad joke that District 9 will be hailed for its "originality."

It might be a solid hook if we thought their love was grand. Instead, it's kind of creepy.

Since that gifted, attractive performer is Hayden Panettiere, who has already won a wide following for "Heroes," it's a wonder that the studio hasn't been more heavily promoting her appearance in this decent, genial youth comedy. After all, she does play, ah, Beth Cooper.

You should have been able to treat this film as a grab-bag and pull out some plums. Instead it goes grabbing after you.

A bit like a real-world horror film with "heart," right down to the trick ending.

Any chance to generate atmosphere or sustained comedy and melodrama goes down the tubes, often literally.

This fourth "Terminator" film is the ultimate heavy-metal parody. Better make that travesty, because there are next to no moments of comedy.

Unlike Nicolas Cage in "National Treasure," Hanks lacks the game for it. The surface seriousness of these Dan Brown movies obstructs his affability and easy, attentive way with romance.

The movie could use less romantic boo-hoo-hoo and more Bunuel: It's engaging whenever Bunuel acts as ringleader or troublemaker, even when he's blustery and piggish.

Young Cyrus is undeniably cute, and some of her songs are as catchy as the law allows - especially "Hoedown Throwdown," But asked to anchor a full-length movie, she simply doesn't have the chops to pull it off.

You have to be willing to take a lot of punishment for a few good scares.

Knowing offers mumbo jumbo on an apocalyptic scale.

Cold, bland and gimmicky - that's how the movie has turned out.

The bad guys just seem like a bunch of X-Games rejects, and Blart's ingenuity proves way more effective than it has any right to be.

The whole thrust of the movie is to warn black women against emasculating their men.

The movie leaves you in an awful tangle of amazement and disbelief: Amazement that Tuvia Bielski did turn a group of civilians into a nimble fighting force and a commune that could defend itself, but disbelief at his accomplishment's stagey and banal rendering.

This movie is genial, forgettable piffle about the perhaps-beginning of a maybe affair. It's a romantic daydream so slim that it barely leaves the requisite sweet aftertaste.

Valkyrie's political and military subjects may have sounded like sure-fire thriller material. Wilkinson alone proves that a suspense film thrives on intriguing characters struggling to survive. Nothing in Valkyrie is as compelling as watching tides of calculation crash across Wilkinson's face.

This picture evaporates midway through because the story itself is a one-liner. Yet it also has a cast that gets into the silliness.

The problem with Doubt is its dramatic certainty.

Is there anyone out there who hasn't seen this movie a dozen times before? Maybe even as recently as last week, since it's basically the same story line as the funnier, if less heartfelt, "Four Christmases."

The title and length suggest a biographical epic, but it's neither biographical nor epic. It's as if the director, Steven Soderbergh, wanted to take tissue samples of Ernesto Che Guevara's political life.

The Reader is ponderously self-important and smugly Socratic, brimming with unfinished sentences and pregnant pauses; if a single character would only say what he thinks, the movie would be over in 30 minutes

The movie is mainly geared to putting new twists on what John Hughes comedies used to call "sucking face." It will satisfy Meyer's devotees.

I found the movie impossibly basic and sanitized as a "never again" parable of the Final Solution - and simply wrongheaded as a story about children.

High School Musical 3 wore me out, but I'm not the target audience. My favorite high school musical was "Hamlet 2."

The result is a film that plays like a creaking melodrama, with good guys and bad guys and precious little in between.