Maxwell continues his textbook emphasis on military maneuvers, but despite literally thousands of Civil War reenactors recruited for the film, the wide-screen canvas fails to map the tactics or evoke the terror of battle.

A stiff. I don't know the comic book series, but it could hardly be as lifeless as this leaden adaptation, in which the weapons have more personality than the characters and the nonstop action often feels like no action at all.

Director Adam Shankman (Bringing Down the House) can't block a sight gag to save his life.

Stylish but insubstantial thriller .

The result is an exploitation movie that seems like it's about something -- though what exactly I couldn't say.

It's a great premise for comedy, but this thing is too dumb to do it justice.

Muddled and boring.

The serious Catholic themes that made the original film genuinely disturbing have been flattened out into a cartoonish backstory.

More or less restages Tobe Hooper's 1974 original, including its much-loved family dinner scene.

Directors Gerard Ungerman and Audrey Brohy don't provide much analysis, instead telling the familiar stories of the invasions of Afghanistan and Iraq.

Beneath all the forced hilarity lies an awful fear of aging--and Sandler is only 43! This is gonna be rough.

Those who deem the gentle comedies of Christopher Guest (Waiting for Guffman, Best in Show) cruel to showbiz dreamers should be subjected to this ugliness.

After loosening us up with some irresistible shtick that rigorously fulfills genre expectations, the movie subtly, systematically begins to break down familiar tropes in the depiction of attractiveness, attraction, and heterosexual courtship.

Suitable entertainment for boys too young to shave.

Abysmal thriller.

Malkovich is severely miscast as a heartless and conniving thug admired by the hero (apparently Charles Grodin was busy), and Hopper, in a paper-thin role, barely registers.

It's a pleasure to see Jill Clayburgh on the big screen in a story about middle-aged love and sexuality, but she can't rescue this alternately trite and implausible comedy.

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

This programmatic male-bonding comedy doesn't even borrow well.

Writer Philip Stark ("That '70s Show") and director Danny Leiner ("Freaks and Geeks") apply mature comic instincts to an adolescent genre.

Inept script delivers a series of juvenile gags.

Moving in fits and starts, mawkish in its sincerity, and at times disjointed in its lumpy structure.

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.

Spike Lee's fans have learned to take the bad with the good, but this is pretty damn bad.

A real air ball, this lethargic drama by Preston A. Whitmore II is so poorly scripted that most of the major plot developments occur offscreen.

One of the film's most poignant moments comes when he and his father discuss his compulsive attraction to young boys.

Offers so much frenetic fast cutting to so little purpose that it becomes an ordeal.