The film feels flat. I don't know how to express my criticism much more than to say that things unfold before you, but you never really engage in the world beyond just watching it.

The opening sequence is an amazing horror scene and sets a tone that the rest of the movie doesn’t even try to follow until the climactic finale.

This sounds an awful lot like "Memento." But unlike that movie, the French-Swiss-Spanish-Italian co-production Novo opts for a Eurotrash sex comedy approach instead.

For a film meant to be a milestone for 100 years of the Walt Disney Company, Wish is a monumental failure.

Eddie Murphy does everything in this movie successfully. Coming To America remains his most personal work and a great argument that a movie can be decent and wholesome despite having enough profanity to make Bill Cosby lose sleep. A perfect argument for Eddie Murphy as decent guy even without the fame and fortune. Not that he's planning on giving it back though.

A passive film, playing it quiet and safe, hoping that the viewer will extend some good will towards it.

As it stands, he made a noble attempt, and it could've been a Hell of a lot worse, but it's not as great a film as its potential hints at.

Whatever the final analysis, Reno 911!: Miami is a welcome breath of fresh air in a year that's already forced audiences to endure the likes of "Norbit."

This cast keeps the story grounded as each man is tested throughout the film.

The really good news is that the disaster money shots are some of the finest ever filmed.

So well is this film made, written and acted that you’d have to be a pretty big hard ass not to get pulled into the hilarious and even touching exploits of Alan and Tommy as their lives take the most unpredictable of turns. Try it, you’ll like it!

In the end, Full Grown Men tells an amusing tale, and the cameo scenes from Alan Cumming and Amy Sedaris are not to be missed.

It’s easy to disappear into the setting of The Sunlit Night but if only the narrative were as involving.

All in all, I would say that R#J, as a new version of Romeo and Juliet, will have some appeal to its supposed Gen-Z audience, although I’m not sure they will understand it unless they read the play first. But isn’t that always the case that the book is better than the movie? If anything, do watch this film to the absolute very end.

It’s a smart comedy that points out the flaws of all aspects of the United State’s political landscape. It discusses how bad the division is in our country and how the media and politicians are complicit in this division. It’s a problem for both sides of the aisle that needs to be addressed before any real change can be made.

There are glimpses of the wit McKenna displayed in “Prada,” but these brief gasps of life are quickly suffocated by the inevitable schmaltz.

Boy Kills World is a two-hour roller coaster. You’ll leave exhausted and beaten, and yet feeling like maybe you too can defeat the fascist dictators in your life.

Predator is a classic action/sci-fi film, albeit a dated action/sci-fi film.

This is a low-key, indie take on a well-worn genre; one that frequently resorts to scatological humor and easy targets, making for an odd mix of the sophisticated and crass.

Blade is just good, plain action movie fun. It runs like a smooth roller-coaster and has excellent replay value.

Its dismal grey/brown color palette doesn’t help the film’s sluggish pacing, making The Operative one of the most head-scratching, aggravating experiences of the year so far.

Seriously, someone needs to stage an intervention, sit Scott down, and tell him that repeated jump cuts, slow-motion shots, and fiddling around with the exposure don’t enhance the viewing experience.

Slow paced, but interesting.

The film is depressingly wholesome. In that respect, it accomplishes what it sets out to do, which is to distract the children of America from the horror of their eventual futures for a couple more hours.

The Seeding doesn’t rely on jump scares to frighten its viewers because the plot and characters are devilishly creepy on their own.

It’s a photo-realistic computer-animated movie. The animation of Kong, Godzilla, and the other Kongs is mediocre at best. The backgrounds should look photo-realistic, but they don’t. I’d rather watch dudes in suits duke it out over a cardboard city than watch this cartoon mess again.

In order to spare you the trauma of this cinematrocity, I'll go ahead and tell you how the film turns out. Who killed the General's Daughter? The filmmakers did.

Joshua and Rebecca Tickell’s documentary, Common Ground, is that rare documentary that actually proposes solutions…practical solutions. I fear that the solutions will disappear into the void if we don’t say anything.

The astonishingly gonzoid fight scenes from Ong Bak 2 might be the best ever filmed.

The Alto Knights is an impressive film, taking inherently interesting material and doing very well not to foul it up. Sure, it’s something we’ve seen de Niro do before, but it leaves you wanting more of it, as he fits this mold perfectly.

Isn’t exactly dull, but it isn’t scary either.

Please Chris Carter, bring us X-Files fans back to where we belong. If there is to be another movie, and there damn well better be, return us to our beloved mythology.

There's no excuse to come within a hundred feet of a screen playing this monstrosity of a movie.

Light-hearted and enjoyable film that will have you exiting the theater with a smile.

Yup, Hollywood Homicide”rips off practically every cop movie out there. My god in heaven, did anyone making this film have an original thought in their lives?

Is there really a deep hidden meaning (DHM) to redeem this hopelessly dry and nebulous film? No, at least nothing that hasn't been done better before.

While the massacre is a wall-shaking and effective bit of high decibel drama, some of the movie's best moments come during the Texans' long brave wait for almost certain death.

The movie doesn't stink. The performances are good, potentially great, especially Vince Vaughn as Norman Bates.

As Ferrell’s films go, Semi-Pro is, honestly, pretty damn boring.

A pretty provocative film, that is until it implodes into standard formulaic Hollywood crap.

Slipstream is a properly bizarre journey.

Silly and scary, atmospheric and disjointed, I Trapped the Devil showcases Lobo’s affection for the genre. He wisely avoids falling into the “gore” trap, instead relying on characterization and our fear of the unknown to raise the hair on the back of your neck.

Great villains and silly heroes make a move that ultimately falls flat.

Video games have had a lot of misses as adaptations, but this isn’t one of them.

Tries to be a lot of things within its 78 minute running time, succeeding marvelously at some while crashing and burning on others.

You won’t want to sit through.

The Mission is a straightforward documentary about the life of a Mormon missionary. Nothing controversial happens. It’s a day-in-the-life story. Though Anderson never attempts to proselytize audiences into the LDS religion, there are more than enough opportunities to hear their message.

While it fails to shed significant new light on its subject, Gibson's film and the all-Jesus-all-the-time attention from the media it's attracted do tell us something somewhat disconcerting about the state of American culture: That the way to make a religion based on love and forgiveness relevant today is to turn it into violent entertainment.

Despite the fact that we are watching Reynolds do the same schtick yet again, director Roger Kumble never lets him outlast a joke or take a gimmick too far. The plot is nothing short of formulaic but what comedy of this nature isn’t these days?

24 Hours on Craigslist is the ultimate people zoo.

Director and (uncredited) choreographer Robert Cary and his performers are simply not up to the task of recalling the great moments they are trying so hard to evoke.

It made bold choices to be a memorable sequel, and most of those chances are exciting. While it has some definite hits and misses, it finds its rightful place in the franchise.

Another unworthy follow-up to the modestly scary and well-crafted, Clive Barker-directed Hellraiser from 1987. Therefore with Hellrasier 6, lots of confusion and silly slasher joke writing is raised, but not much hell, in any sixth sense of the word.

Rips out at least one dimension to reduce everything to archetypal good guys and bad guys, or bad guy and worse guys.

The humor is boring and in most spots inappropriate for children.

This is Dirty Harry's greatest hits, which is a little fun and a little embarrassing. The best part of the film is a warped version of "Bullitt"'s San Francisco car chase through Pacific Heights.

Excellent directing coupled with a smart script and solid acting make Choose Connor a movie worth your time.

The reason to see The Last Movie Star is its performances from both Burt Reynolds and Ariel Winter. It’s a sweet, solid film and a suitable bookend to Reynolds’ career as a leading actor.

A fun, structured ride.

Cash Out contains flashes that give a wistful look into what this could have been. But the truth is that the title tells you everything you need to know: this action-thriller is nothing more than a paycheck for Travolta, Davis, and everyone else involved.

I don't want to say any more about the plot, it's just too much sick fun.

Very little in Reservation Road ultimately rings true, which makes the anguished theatrics on display that much more exasperating.

Director Peter Segal knows what strings to pull to elevate the cuteness factor, and he pulls them hard. It’s all good, actiony fun, when you need a moment to unplug your brain. Even though you’ve seen this all before in other cop buddy movies, it works.

A rather forgettable affair.

Recommended for the toothsome Jennifer Tilly, the manic Billy Boyd, some inventive deaths, some inspired gore, and one frankly hilarious scene involving Tilly and a decapitated corpse.

Takes us into the heart of the desperate, needy, funny, alternately glamorous and sleazy world of the international movie business.

Such a hopeless mess that there's no fun in tossing insults at its endless shortcomings.

The Ringer is astoundingly craptastic not because the handicapped are handled poorly (though if they were paid more than union scale I'd be surprised), but because it's one of the most singularly unfunny films ever made.

Lord of Misrule might just be the most effective outing for the director yet. It possesses an earnestness and polish that affords audiences a morbidly fun and familiar film yet still manages to turn a few expectations on their ears precisely when they need it.

Fails to satisfy.

If you hated "Dogville" because of the overage of narration or the length of time it took to finally get to a point, you'll be pleased to know that von Trier has lessened both those elements. With that said, it still has some of the same flaws.

If you liked "Magnolia," you'll also like Mind the Gap.

It is exciting… enough and is carried by the fun cast and design work.

Jesus Revolution is one of my favorite faith-based Christian movies, of which I’ve seen more than my fair share. I associate three things with faith-based films: bad acting, an outrageous, overly positive message, and a shoe-horned sermon. Thankfully, this film avoids all three elements.

Thankfully, the dependable Ray Winstone ("Sexy Beast") is in the film too and gives a droll, slightly-more realistic take of an uncultured abet to Arthur's side.

Measure for Measure is a collection of great performances by both seasoned and up-and-coming actors.

Eli Roth has potential, I just think he should leave Slovakia alone and focus on bigger and better things.

It should be noted that the film, directed by Corin Hardy, looks great. From a visual standpoint, The Nun is a success. There is an effective use of framing, color, and light that Hardy executes with polish.

The worst sin of omission in Secret Window is the removal of the fact that Rainey had actually plagiarized in the past. In the story, this is critical because it is the source of Rainey’s guilt -– and arguably the reason for his success.

As it is, you'd get the same level of excitement watching "T.J. Hooker" reruns.

In any biography/drama, the key is to make audiences believe this is the real person from history. Capone just never gets there. That could be Al Capone, but nothing in the film makes me believe it’s him, nor emotionally connect with him. Capone wastes a lot of good talent, and it’s a shame.

Even more frustrating than the trite dialogue exchanges, is the robotic performances delivering them. This is Tom Hanks' worst performance is years (maybe even his worst ever). Ron Howard's slothful direction is giant misstep from his previous effort ("Cinderella Man"), relying on techniques and hopefully he won’t repeat it again.

For a movie like this, good is not good enough; it has to be well above average for a recommendation. Unfortunately, I found myself bored through most of Mortal Kombat II.

Given how much Yellen does right, it's all the more shameful that she so spectacularly sinks her film in the foot with one hugely questionable "creative" decision: adding a pair of ghosts into the mix.

This well made, slightly cornball and riotously comical romantic comedy not only extols the old fashioned American dream, but charmingly celebrates the virtues of the great American melting pot as well.

Long before you buy your ticket to the new Jim Carrey film, you've already been doomed to disappointment. Several parties play a role in this. Interestingly, Jim Carrey isn't one of them.

Serves as more proof, as if any were needed, that Allen desperately needs to devote more time to polishing his scripts, and less to heedlessly banging out one film a year, year in and year out.

The results are either darkly comic and tragic, depending on the viewer's mindframe. But McElhinney's route to these results, as with the Bertolucci, is nothing short of stunning.

May be the best independent horror film to have come out since "The Blair Witch Project." It's certainly better than "Blair Witch", and more fun, more gruesome, and more macabre. In a very delightful way.

It's not often that a film changes history, but it's just possible that Irish writer-director John Deery's righteously energetic Conspiracy of Silence just might help alter the course of 21st century Catholicism.

Good ensemble performances in front of the camera are supported by clever shooting and cutting, which work, not just deftly but unobtrusively so, with and within the readily apparent technical limitations at hand.

A solid, whirlwind of a horror movie, with more twists and turns than a hula hoop competition.

The Meg is simply toothless.

The animation is workmanlike in its execution, delivering more seamlessly perfect digital commodity level output.

A dark, thrilling drama unfolds with these two spinning their own world on top of the grim reality of Gotham and Arkham.

Werewolves is the best werewolf movie since The Howling.

With terrific pacing, knockout script, and actors who know what to do with it, Untogether quickly earned its place in the subgenre of romance worth watching.

A straight-ahead exercise in brutality.