Condensing, paring and shorthanding the story elements can be daunting, and, despite the efforts of Kasdan and Goldman, two masters at wrangling unwieldy source material into shape, there is some awkwardness and confusion in the result.

The heist itself is quite nicely filmed herein, but unfortunately, getting to it requires sitting through a bunch of noisy, fussy crap, from the overly busy soundtrack to the irritating narration of stoned guy Leonardo Nam.

It's too easy, but here goes: This movie's a Loser. Sorry.

Director Marcus Raboy hasn't made a bad movie, exactly -- just one that seems to have forgotten its own jokes, much as those who watch it will forget everything about it a week later, stoned or not.

One can only assume all the, ah, good stuff landed on the cutting-room floor, because it sure as hell didn't make it to Mars.

Visit Red Planet, and you'll boldly go where everyone has gone before.

This hackneyed, hapless and utterly useless redo of an overrated 1960s sitcom is excruciating to sit through for a dozen reasons.

If the first movie played like a midseason TV pilot, its successor comes off like an extended episode of a generic sitcom.

It's a fast, entertaining ride.

This Mansion should satisfy, at least until the disappointing climax.

Like its predecessor, this cartoon adaptation is a bit too all over the place for its own good, never entirely clear on whether to play as parody or homage.

The movie ultimately cops out by culminating in a fistfight between two humans, with nary a cyborg missile-throwing devil in sight.

Nothing worse than a silly movie that takes itself seriously, that bores us to death while we wait for the finale that comes too late.

Everything that happens proves just as predictable as before.

The only genuine surprises on hand are the few moments when the film defies the expectations that have been programmed into our collective neurons by the past 25 years of horror movies.

Basic really brings to mind a Travolta film from 2000, "Battlefield Earth," in that it's so astonishingly awful it becomes a sort of kinky pleasure; just when you think Travolta has fallen to the bottom of the barrel, he pulls out a shovel and dons his miner's helmet to see what lies beneath.

An utter drag, a tepid and sterilized telling of Susann's life.

Excess Baggage, Alicia Silverstone's first feature from her First Kiss Productions, turns out to be a rather shaggy and uninvolving jaunt.

This is a sequel so bad that even Cedric the Entertainer and Anthony Anderson didn't return for it, let alone Terrence Howard and Paul Giamatti.

If, having seen "Jackass" half a dozen times, you now yearn to watch a pair of identical twins from Texas Tech cavort in the wet T-shirt contest or hear mobs of drunken undergraduates screaming for more margaritas, here's your flick.

Rarely has one movie seemed so predestined to reduce any and all attempted criticism to so many column inches of impotent gibberish.

Initially artsy, then campy, then tense, it would have worked better if writer-directors Peter and Michael Spierig had kept everything serious and let the inherent absurdism of zombie attacks speak for itself without additional ironic comment.

Feels like a quirky sitcom -- "Arrested Development" without the development.

The fights are mostly cool, save the final one with too many quick cuts, and the morphing graffiti and tattoos are nifty. If only the rest of it weren't so stupid.

As by-the-numbers as VCR instructions. And, inexplicably, it's also a blast.

Fame this film ain't.

Equilibrium improves as it rolls along -- either that or, ironically, it wears down the senses until the viewer succumbs.

No doubt Fox wants to tap into those Latina dollars, but you've got to spend money to make money, and this shoddily cheap-looking product ain't gonna do it.