Bad Company is about an undercover brother, but it will never be confused with "Undercover Brother."

Fanaro's script never really hones in on the concept's potential.

Formulaic 'Chuck & Larry' is a crass, unfulfilling effort.

Everyone from the ensemble appears to be acting in a different picture. Zaillian strands them all.

For all Quek's insistence that she was seeking to ennoble women by helping them gain control over their sexuality, Lewis' film shows that all Quek really wanted was be famous.

Analyze That is no surprise, and pleasant is about the most you can say for it.

Tedious almost beyond endurance.

It's relentlessly dumb and relentlessly humorous, and those aren't the adverbs it was after.

The transgression that dogs much faith-based art - and leaves its stain on The Last Sin Eater - is the inability to divorce art from agenda; that is, you can feel the filmmaker forcing the round peg of evangelism into the square hole of creative excellence.

What we deserved was "The Island of Jeanne Moreau." That I'd pay to see.

Never makes the Jordans' tribulations feel like anything more than yuppie angst.

Crush is the kind of movie that gives friendship a bad name.

The astonishing brio and verve of street dancing deserves better than this.

It's a family film done as a trip film. It is a trip, but it's a bad trip.

The whole narrative is too hollow and rickety as well as gimmicky for Muccino to breathe much life into it.

So much of Three to Tango is calculated to push the proper emotional buttons that it's ultimately unsatisfying.

Rocky and Bullwinkle have not only returned, but they've been placed in the hands of filmmakers who know what they're doing.

Rebound is determinedly lightweight fare that shamelessly resorts to every crowd-pleasing cliche it can think of to wring sympathy and laughs from its audience. To say it succeeds is not meant as a compliment.

Meant to be a steamy erotic thriller, it's more annoying than anything else. Surely you will see its Big Surprise coming by the first 15 minutes, and it never begins to achieve the kind of sultry, mesmerizing fascination it so desperately needs.

There's not a moment in Against the Ropes where you forget this is perky Meg Ryan up onscreen, talking trashy and acting tough.

Abandon tags Katie Holmes as a talented actor with surprising range and vast, untapped potential - so much, in fact, that watching her, one can almost overlook the film's many flaws. Almost.

Like its predecessor, Jeepers Creepers 2 is that rare modern horror film that remembers audiences are scared far more by what they don't see than by what they do. For that alone, horror fans should be thankful.

However you pronounce Bythewood -- I assume it's by-the-wood -- his work here is strictly by the numbers.

Standard-bore action stuff, in which a macho stud superstar blows away lots of bad guys while struggling to make the world a better place.

Making a live-action version of Thunderbirds is like rounding out the edges on a Picasso painting to render it more realistic.

The Wicker Man is too loony to be a drama, too earnest to be a comedy, too predictable to be a horror film.

This is a movie that falls short only because it insists on grabbing for so much.

There's a funny premise at the core of Are We Done Yet? Too bad the movie doesn't do much with it.