Although far superior to recent American fare such as "Alex and Emma," the film takes actors with quirky charms and places them in a homogenized, studiolike picture. What a waste.

Unlike the original, there's no R-rated grit and no familial executions -- gotta get the young-skewing WWE fan base in there.

Once Connell finds his feet, he just may stride forth with his Important American Movie. Until then, The Opportunists is simply a whiff of great unwashedness yet to come.

Director Rob Marshall, as he did in "Chicago," plays the movie as though it's all an embellished memory inside the head of geisha Sayuri (Ziyi Zhang), but why would she remember everyone speaking in choppy English?

Once you notice Ejiofor, you won't stop noticing--and Kinky Boots ensures that you will notice, thanks not only to the nature of his role, but also because there isn't much else here to get excited about.

Brosnan proved his worth last time around; but, sad to say, the rest of Tomorrow Never Dies lacks the wit and inventiveness of GoldenEye, let alone of Goldfinger.

There are times when one suspects that this film potentially could be the raunchiest sitcom pilot ever.

Knockout's heart is in the right place, but it drags because of tedious earnestness and shallow "You go, girl!" feminism.

Younger, for whatever reason, simply can't abide their happiness, and so he destructs the relationship from time to time for no reason, using plot devices that wouldn't have been out of place in episodes of "Three's Company."

Proves only intermittently engaging as its twisted plot loses energy and becomes confusing in the latter half.

This movie's just so-so, but at its heart lies a true leading lady.

More bonkers Jackson-at-work moments would’ve helped, but mostly we just see the kid from Gary, Indiana, dispensing hugs and God-bless-you's to an awed cast and crew. Watching various dancers and guitarists grin irrepressibly during their one-on-one run-throughs with the man is one of This Is It’s few pleasures.

The actors are capable, but the direction feels stilted, the pacing sluggish, and the story obvious. The film plays like an ABC after-school special.

Part of the reason that it doesn't quite succeed is that these messages are so tried and true.

Carrey and the Farrellys are equal-opportunity offenders.

Essentially the movie's an excuse to show off cool gadgets and co-star Angie Harmon's cleavage.

The trouble with 12 and Holding, which pits four young protagonists in intertwining battles for spiritual (and, well, literal) survival, is that it's just too much.

Funnier when high -- what isn't? -- Harold and Kumar may also serve as the first infomercial for weed and burgers.

If only the sum of this thunderously self-important "true story" outweighed its often fabulous parts, but it resorts to throwing up hollow icons in that most ignoble of losses, the expensive mediocrity.

Competently if unremarkably directed by Englishwoman Clare Kilner, should prove compelling enough to Moore's huge legion of fans.

Hypochondriacs and germ freaks may dig it.

Is it enough to make us like a thing we used to love? For most, that rekindling of an old flame will be good enough.

Sometimes junk is junk, no matter how fancy the platter upon which it's served. Which isn't to say A History of Violence is useless junk. It provides a few pleasures and a few giggles; it's a comedy, after all, an action movie in which things unfold at a deadpan pace.

This is a Tom Cruise vehicle, pure and simple, and that means it's destined to be the biggest chunk of guilty white-boy wish fulfillment since Kevin Costner got down with the Sioux in "Dances With Wolves." In fact, the parallels are all but plagiaristic.

Love it or hate it, you won't be able to leave it alone.

No character other than Antonelli is developed enough to register. Worse, the minor characters, most of whom are played by Joffrey dancers, are simply not actors.

What the movie mostly sends up is its star and screenwriter, Michael Myers. That's not all bad.

Runs out of breath and collapses into a heap of feel-good endings that turn a soaring feeling into a sinking one. But by then, the audience that adores it will forgive it its sins.