See it in the right sick frame of mind, and Tim and Eric's Billion Dollar Movie can be shockingly and terribly hilarious. Or not.

3 Days to Kill is pretty terrible, but it’s not really Kevin Costner’s fault.

Watching Granger and Priya chase each other around a hotel like squirrels in a park, you wonder what these two see in each other.

The tone is almost willfully off-putting. The parts that are supposed to be cute could give you the creeps. The film is almost a Platonic ideal of how to take an emotionally transfixing real-life story and get it wrong.

Movies that are entertainingly nuts don't come around very often, and when they do they need to be given their due.

In short, the financial crisis and social upheaval of 1930s France never looked so appealing.

If you're a fan of this Lord, find a copy of the 1999 DVD "Lord of the Dance" and don't waste your time with this flat vanity piece.

If “It’s a Wonderful Life” (1946) had mean Mr. Potter standing on the bridge ready to jump, rather than James Stewart’s beaten down hero George Bailey, it still would not have been as namby-pamby as Mark Pellington’s treacly and bromidic The Last Word.

The movie crassly repurposes tragedy to excuse its cliches.

The crew doesn’t much look the part either, save for Schaech’s Stalin ’stache. Yet the movie does show the ability to get past this, even with the weight of all its narratively risky conspiracy theorizing. It’s a shame the intrigue has to get torpedoed by elements that mostly feel correctable.

What the movie lacks most is a real sense of adventure.

Though Derrickson offers some new twists on old tricks, and evokes a mood of menace with rainy streets, gloomy interiors, and the transformation of comforting everyday objects into something horrible, the story soon devolves into variations of many movies we have seen before.

The stand-up routines — from Jackie and the pros alike — are funny and blue enough to shock a few laughs out of you, sometimes in spite of your better judgment, and the star seems once again genuinely invested in creating a character.

Some documentaries are an embarrassment of riches. Salinger is merely an embarrassment.

A sludgy action thriller with an out-of-shape star, Blood and Money doesn’t have a lot going for it other than its setting: the uncharted north Maine woods in the dead of winter.

When is a comedy not a comedy? When it’s not all that funny.

The movie seems terrified of true psychological complexity or perversity. It's less a family tragedy than a lousy country dirge.

The best there is to say is that it's better than ''Troy."

Part sketch-comedy cartoon, part Cracked magazine spoof, installment four is the most scornfully made yet.

Indeed a rip-off - a rehash of Hong Kong superstar Chow's greatest celluloid moments with an overlay of Hollywood action cliches, youth-flick silliness, and ah-so stereotypes.

The film doesn't have enough innovation or pizazz to attract teenagers, and it lacks the novel charm that made ''Spy Kids'' a surprising winner with both adults and younger audiences.

National Treasure even has a rough time approaching the heart of ''The Amazing Race," a show that manages, in 44 minutes, to make you care about average folks as they follow clues across the globe.

This movie brings to mind much better cable TV shows like the marijuana comedy "Weeds,’" the one-on-one psychodramas of "In Treatment," and the astonishingly cinematic "Breaking Bad."

Three Fugitives isn't the total disaster that such remakes as "The Woman in Red" and "The Tall Blond Man with One Red Shoe" have been. It has moments, mostly having to do with physical comedy, of which Veber is a master. Mostly, though, you keep closing your eyes and wishing that when you open them, Nolte and Short will be gone, and Gerard Depardieu and Pierre Richard will appear in their place, as they deserve to. [27 Jan 1989, p.72]

Assassin is funnier and less awkward than her last concert film, 2004's ''CHO Revolution," but nowhere near as consistently gut busting as 2002's ''Notorious C.H.O." or (first and still best) 2000's ''I'm the One That I Want."

Entertainment so generically gentle, it doesn’t compare to last year’s similarly themed, tonally looser “Trolls.”

Aloha is as generic as its title. The islands exist solely as an exotic backdrop for the pretty Hollywood haoles to play in. Business as usual, and I never thought I’d say that about a Cameron Crowe movie.

The numbers just aren’t as dynamic as we might have hoped for from director Trish Sie, whose credits include alt-rock act OK Go’s “treadmill video” and other addictively innovative shorts.