Unfortunately, I Want Your Money amounts to little more than a Moore-style screed with a conservative bent and a less corpulent and sardonic host.

This movie is often hysterical, and sometime very sweet.

Though Hereafter has plenty to give you pause: its plot flatly insists there's an afterlife without really doing much with the matter, metaphorically or otherwise.

Isn't very funny or much fun at all.

Columbus knows his way around this kind of material even if some of the special effects look like they came from Deep Discount. The gods are well-rendered, but nothing special. Still for the Potter crowd, Percy provides a nice diversion until the real thing comes along.

Beautifully shot but more than a little sterile.

Surrogate fathers and family values are at the foreground, making the film a quick sell to parents - especially as it boasts the added value of literary roots.

The film, despite its promise to excavate an inner life, wilts into banality whenever Gould's thorny paranoia and control issues come up.

Although it’s formulaic in the extreme, The Back-up Plan is an easygoing romantic comedy treat for fans of Jennifer Lopez.

Never finds a satisfactory way of examining its subject aside from soapy melodrama.

Trash-action director Paul W.S. Anderson's (Alien vs. Predator) finds no cultural purpose for this rather literal adaptation of the Musketeers, but it's not so horrible it deserved to be protected from the cold eye of film critics.

A classic case of being too much of a not-very-good thing.

This doc contributes to the small collection of films on burlesque something more self-aware looks at the matter don't: an exposition of the messy history of a complex popular art that still leaves us with much to explore.

When all the pieces finally come together at the end, the effect is less impressive than it is reminiscent of "Wayne's World": multiple endings, no real impact or weight to either.

Though it slows down in the back half, the opening acts of Season are reasonably entertaining.

Waltz is the highlight of this glossy but plodding drama, a live wire in a movie that sorely needs a jolt.

Pierce delivers everything the role requires except serious menace, while the less-seasoned Crawford improves as his handsome face bares more of the evening's scars.

While most action films fall apart because they succumb to stupidity, Colombiana suffers most because it tries to be too smart.

Not quite the yuk-fest one was hoping for or as perversely alienating as "Observe and Report," Due Date shares the schizophrenic quality, though not the numbing length, of another Seth Rogen movie, "Funny People."

The film's biggest (and saddest) crime is malaise - it's not that John Carter doesn't care about what it's doing, it just can't make us care, even though the magnitude of every event, conflict and emotion is as melodramatic as its Victorian roots.

Not only is the film a slog, the main focus is on the band's arguably inferior last decade.

Even given narrative license, South African-born screenwriter Ann Peacock has trouble cobbling together a truly compelling plot that deals with Kenyan history, including tribalism, in a detailed way.

Though rife with clichés, Starry Starry Night has just enough nostalgic melancholy and quiet whimsy to make its coming-of-age narrative and elegy to childhood emotionally and visually compelling.

Much of the film is taken up with Wexler's musings about his own mortality and physical, shall we say, decomposition.

This PG-13 scare-fest is more psychological terror than blood and guts, and should satisfy-not repulse-young genre fans.

Appearances by Toni Collette and Whale Rider’s Keisha Castle-Hughes should draw a few curious parents to what is, most of the time, a quirky and quite enjoyable coming of age saga.

Safe bangs along respectably enough, all thrown fists and cheeky comments, but it never feels like more than a second-tier video game brought to life.

The original Jonathan Ames novel from 1998 is a rich, funny and unusual work. The movie opts for the funny and unusual, leaving us with characters ill-equipped to rise above their shtick or engage our sympathy.