A pleasant but tepid comedy.

If spelling out stereotypes were inherently funny the movie would be a hoot.

The childish humor and sensationalistic effects undercut the movie's philosophical agenda.

The Focker franchise has become such a swell payday (Meet the Parents grossed $166 million; Meet the Fockers, $279 million) that now everyone wants in on the act.

The movie's idea of funny is giving the two lovers identical moles bordering their upper lips.

May be a good showcase for James Franco, who's in every scene, but it's a disappointing choice for director Justin Lin.

Writer-director Wil Shriner tends to sit on almost every shot, killing any comic momentum (sequences with Luke Wilson as a dim-bulb cop are particularly witless), and ominous scenes involving cottonmouths and Rottweilers are glibly resolved.

Leaking platitudes and cutesy ambience, this comedy folds a smarmy, social-issue subplot into a Saturday-morning-kids'-show sensibility; it's full of geeky gadgetry, and must've been a lot more fun to make than it is to watch.

Manages to transplant the action to Chicago without completely ruining it, though the emotional impact is largely deflated by the change in cultures.

The lovers' seduction in the sand borders on laughable soft porn; later in the film, an act of genital mutilation (part of a prenuptial ritual) injects an unexpected note of terror that reverberates to the end.

A romantic comedy with precious little romance and even less comedy.

Haven't we seen this already?

The gender-bending comedy of Billy Wilder and Blake Edwards gets a teenpic makeover in this 2005 debut feature by Martin Curland.

The problem with all the time-travel high jinks, involving multiple versions of the major characters (a gimmick that Robert Heinlein handled much better in stories like “By His Bootstraps” and “All You Zombies—”), is that in order to make the plot even semiintelligible, writer Bob Gale and director-cowriter Robert Zemeckis have to turn all these characters into strident geeks and make the frenetic action strictly formulaic.

The filmmakers treat all the characters, not to mention the audience, as sitcom puppets.

There's one nifty and original sequence--an assassination attempt during a state funeral where the pipe organs in the church all go haywire--but otherwise, this is crushingly generic.

Sometimes come together exquisitely.

Fairly strong on period atmospherics, but it mainly adds up to yet another pointless adaptation of a literary standby.

A Sears catalog of rock 'n' roll cliches.

Reynolds turns the emphasis from the action scenes to the depressed emotional state of his strangely disengaged protagonist, and the result is a film haunted by an unstated, largely undramatized sense of melancholy, very personal but almost completely inarticulate.

Dylan Moran has a few funny moments as Pegg's shiftless pal, and Mike Leigh regular Ruth Sheen puts in an all-too-brief appearance.

At least the special effects and outer space vistas are more handsome than usual.

The special effects are impressive, but they don’t add up to a movie.

The results are pretty obnoxious and only intermittently funny, but certainly characteristic.

The film gets campier by the minute.

One of the queasier Rock Hudson-Doris Day comedies.

While the film includes several exciting, creatively shot action scenes, the drama is otherwise so shopworn that the violent climax is a relief.

Terminally boring.