Overblown and unconvincing, the director's bright, poppy style clashing with the grim subject matter.

With any luck this biopic of Amelia Earhart will also vanish without a trace. Hilary Swank is sorely miscast as the legendary aviator.

The action is clotted and murky, and Coppola obviously hasn't bothered to clarify it for the members of his cast, who wander through the film with expressions of winsome, honest befuddlement.

Even likable star Zach Braff can't salvage this clunker.

The troubled star writhes her way through a red-lit pole dance in the opening credits and shrieks her way through a prolonged torture-porn sequence; after those lurid turns the movie settles into an indifferent mystery plot as the cops pressure the girl to help them find the culprit.

This story line turns out to be a put-on, and the latter half of the movie is a tedious mockumentary exercise.

If a bullet hadn't killed John Lennon, this Beatles-scored musical might have.

Unfortunately, director Richard Donner doesn't pay much attention to text, subtext, or anything else; his 1986 film is empty glitz in search of a style, with arbitrary action substituting for ordinary narrative coherence.

The little heroes and their families are surprisingly ugly, with faces resembling skulls, and the colors are so faded and muddy the movie feels tired and bungled.

Put this one back on the shelf, and walk away.

Muddled and boring.

One very sick and messed-up movie.

Steve Martin and Goldie Hawn are too good for this embarrassing remake.

Fans of director Lynne Ramsay's first movie, the bleak Ratcatcher won't be surprised that this little existential exercise makes The Stranger look like a funwagon.

The novelty wears off almost immediately, leaving this a real chore to watch; there's something bizarre about low-budget spontaneity being replicated in such a labor-intensive medium.

This is basically sloppy, all-over-the-map filmmaking with few hints of self-criticism and few genuine laughs.

Not a fraction as scary as George Romero's low-budget "Night of the Living Dead." Fans of the first installment will probably like this too--it's essentially the same movie, plus helicopters and lots of flying glass.

The crosscutting between the two plot lines is so feeble and intrusive that it destroys whatever faint narrative momentum the film possesses.

The best thing I can say about this sleep-inducing kiddie comedy is that the need to bring in a PG rating must have precluded the endless series of giant-turd gags promised by the title.

Boring, irksome family movie.

More concerned with attitude than character and too moralistic to be much fun.

The script, by Nolan and his brother Jonathan, takes a few vague pokes at Wall Street and the financial elite but mainly revives the ponderous psychodrama of the first movie.

An exercise in robotic filmmaking.

The remake begins with the same premise and appropriates the most striking visuals, grafting them onto a more explicable but equally dull George Romero-style doomsday scenario.

Running beyond three hours, the movie more than overstays its welcome, and despite some vague genuflections in the general direction of The Godfather regarding family ties and revenge, there are simply too many years and locations covered, too many crane shots and rainstorms.

Osunsanmi's big formal innovation tunrs out to be the split-screen pairing of patently bogus "archival" black-and-white video that shows alleged abductees undergoing hypnosis and color "reenactments" of same. Ultimately it's up to you, the viewer, to decide which is more boring.

Every eerily tranquil shot, weirdly elliptical scene, and peculiar line reading contributes to a mood of detachment rather than creeping dread.

Predictable outrage.