Nothing To Do doesn’t really do much of anything.

The ingredients were there for Confessions of a Dangerous Mind to become a cult classic, but the resulting film is a tedious Hollywood yawner.

Computer movies have come a long way since the good old days of monitors projecting vector graphics on hackers’ faces, but there are still some forehead slappers in Untraceable.

Wilson overstuffs the film with endless artsy shots of nature.

What’s a muscular guy like John Cena doing in a flabby movie like this? This connect-the-dots action-adventure may appeal to undemanding ten-year-old boys but will bore everyone else.

Marceau's effervescence and graceful stature fill the screen wonderfully, even if its a stretch to see her go lip-to-lip with Spade.

The plotting for Jericho Ridge meanders about aimlessly.

The fourth best virtual reality film of 1999. The best is "The Matrix". The second best is "eXistenZ". The third best, well, there's got to be something better than this.

tThe resulting hodgepodge is a medley of the brothers’ favorite verbal and visual tics, making much noise and signifying nothing.

Oh, boy. This is not unlike watching one of the movies Jerry Lewis made after that concentration camp/clown epic nearly destroyed his career and his mind.

A compelling screenplay, to be certain. But sadly, Omarova's direction is too leisurely to wring any emotional power.

It's a little frightening to watch Hawn be "bubbly" at her age.

Try as I might, I just wasn’t all that invested in the fate of Alex and Sean or their own private close encounter with the third kind. Which is a shame as the filmmaker shows a keen flair for creating both an interesting visual and aural palette.

Especially to anyone with kids, the film packs some punch. Apart from that, The Pursuit of Happyness is emotionally manipulative and way too glossy to really hit home.

Easily the most disappointing movie of the summer, Extract is more significantly the biggest letdown of its esteemed creator’s career.

Streamline never establishes its footing, and I believe viewers will fail to see the allure of what Johnston attempts to create.

By the way, good luck making sense out of the final fifteen minutes. I'd say people were asleep at the wheel on this one but the film is so pointlessly all over the place that I'm not sure there even was one.

Identity steams my broccoli big time and not just because its surprise twist is an insult to the intelligence of every audience member.

By the end of the 99 minute running time, there is a terrible sense of been-there/done-that. And for artists of the Quays' caliber, that is a huge mistake.

Similar to one of those smutty 80s comedies, Boat Trip is a Farrelly brothers like gross-out with a homophobic entwine.

This isn't a new spin on Bret Easton Ellis, it's more like a 90-minute "Saved By The Bell" episode with better music.

For a sci-fi feature, it’s certainly not visually-stimulating; perhaps it would’ve worked better as an audio-book.

Even if you love all things Yiddish, there is precious little to embrace here.

Although it looks cool, appearances aren’t everything.

If you enjoy being sober around your trippin’ buddies, then Tyger Tyger may be for you, but you’re much more likely to feel left out.

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

There’s just no nuance here. Good is good. Evil is evil.

Rarely has a film been cast with so many gifted performers who are either wrong for their roles or are given nothing to do.

Honestly, this movie would've worked a lot better had the Red Sox not won the World Series.

If anything saves Elling, it is the trio of supporting performances that are closer to the real world.

Greenland 2: Migration is all mind-numbing action with nothing to say. If you’re a fan of Gerard Butler or Morena Baccarin, you will probably have fun with this one. Otherwise, it’s a skip.

As easy as it is to pass down mantras of fear and hate from parent to child or society to community (and individual), so is the imprinting of courage and compassion through conversation, emulation, books, plays, films, and the like. The Tale of Despereaux, aims to share such a message.

What makes this movie so inadequate is that there are some moments in it that could have been really worth watching.

This film once again proves that Hollywood has apparently run out of original ideas and is forced to remake another classic film and, like most Hollywood remakes -- big surprise -- it SUCKS.

The trouble is that the contrivances are so…CONTRIVED.

To be sure, it's a very pretty, well acted production; however, that doesn't make up for the fact that I hated every minute of it.

Tries to be bigger and better than the first "Charlie’s Angels." It achieves the bigger, but the better is sorely lacking.

The role is ill-suited for Kinnear's talents. Abraham's pacing is glacial, the cinematography is flat, the score by Jill Savitt is suited better to a supermarket and then there's the fact that the climax can be seen coming a mile away. Maybe the biggest, though, is its failure to play fair with the audience.

Isn’t very effective as a thriller.

Eastwood is a formidable filmmaker, a force of nature, whose films like Mystic River will forever remain in the pantheon of Great Cinema. Alas, Cry Macho may likewise be forever regarded as a perplexing glimpse at a different side of the man, one who's created this macho persona and who now attempts to absolve himself, to only – pardon my crude use of the idiom – dig his own grave.

It Snows All the Time resembles a prolonged PSA with all the production values and depth of an infomercial.

In its favor, the film is competently edited, and the low production values aren’t too apparent – thankfully, it’s at least decently assembled.

The messaging in Greed does nothing but preach to the choir and keeps us firmly divided in a time where reaching across the aisle would do a helluva lotta good.

Shabbily structured, with barely any tension, characterization, scares, or thematic depth, Consecration, due to its utter lack of inspiration, loses the audience’s concentration within minutes, and may even lead to constipation (okay, maybe not the last part, but you get my drift).

The Child Remains strives to be a unique amalgamation of horror themes, however, it ultimately results in a confounded muddling through mismatched generic set pieces.

Could be subtitled “The Parade of Overrated Actresses.”

The film has brief flashes of believability and humor. By and large, though, the script is uninspired, the picture's characters are stick figures, its dialogue is lackluster and the star's performance seldom rises above the adequate.

Everyone here sounds trapped in a high school staging of “The Crucible,” and after about an hour, this high-toned creature feature wears out its welcome and starts to seem rather boring and pretentious, the two greatest sins any movie can commit.

Really doesn't take itself seriously. In fact, it so doesn't take itself seriously that it has a negative impact on the film.

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 the end, The Marvel is a superhero movie clearly made and produced by people who have never read a Marvel comic book but read Archie instead. It feels like it was made for teen girls and not for actual comic book fans.

We Need to Do Something simply doesn’t have the character-centered backbone to create an engaging 96-minute long story. It’s painfully obvious that atmosphere and style were the priority even though the premise made it so that the characters took the spotlight.

Powell and Loy try gamely to work their magic and wit, but it’s no use anymore.

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

To put it in the best light possible, I recommend thinking of Four Christmases not so much as a really short movie but as a very special holiday episode of a sitcom.

The fact that pretty much nothing makes sense renders the dull narrative that much more difficult to bear. So many questions arise regarding the laws established in this film’s universe, I frankly don’t even know where to start. So I won’t

Kinda makes you think about how important seemingly minor events in life are. Not really.

More tongue in cheek than its predecessor, and yet less over the top, it won't do any permanent damage. Of course, it won't leave much of a lasting impression, either.

Plays like a 108 minute episode of Hawaii 5-0, minus the exotic locale.

Travolta’s performance in Basic is irritatingly familiar to his overacted, spastic performance in "The General’s Daughter." Either that, or he’s channeling Nicholas Cage from “Face Off” again.

The Fourth Kind has nowhere to go and sticks to its real-life/reel-life device. It feels like mud by the second act.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

Boasts some of the best filming seen in today’s so-called “dramatic documentaries,” but an unrefined script and frankly unbelievable ending keep it from becoming something better.

A strangely inert affair. The stories devolve into one-dimensional squabbling and too many loose threads flap around the edges.

The guys in Ishtar are the boring wallflowers of the world. They probably shouldn't be mocked, disgraced and beaten, but who really wants to spend close to two hours with them.

Wants to be a monster movie for the art-house crowd, but it falls into the trap of pretention almost every time.

The question isn't whether Nispel's remake is better than the 1980 original (it isn't) but whether anything original is brought into the mix. And minus a mild plot twist you"ll probably see coming from the first five minutes, there isn't.

The film as a whole is vaguely entertaining but due to the unsympathetic nature of the lead character, it's hard to emotionally invest in the film beyond that feeling of watching yet another Jerry Springer-friendly family adventure. It’s simply unexceptional.

While the film has some laugh out-loud moments, it’s very poorly constructed and what we see onscreen seems to be the victim of either bad editing, poor direction or a script that was rushed into production too quickly.

As unoriginal and awkward as Like a Boss is, Byrne and Haddish do everything in their power to elevate the mundane script to something worth viewing.

There are worse movies out there than The Terminal, but few that feel quite so…unnecessary.

It is the kind of movie where everybody gets together at the end to sing or dance in celebration of love, life, and family; so going in knowing nothing about The Storyteller, one will either be moved by its devotion to providing warmth and tears of joy, or not.

The movie knows what it is, and undoubtedly offers some tense moments, but once the plot contrivances start to stack up, Unhinged becomes too silly for its own good. It leans heavily into the violence to distract, but the flailing story surrounding it.

Rebecca Romijn-Stamos is just plain HOT in this film and other than that...we got ourselves a stinker.

The issue with Eva’s coming-of-age story is that, unlike most other films with the same premise, it lacks a significant self-discovery. The August Virgin lacks the significant payoff necessary to be successful.

The real torpedo that sank this ship was that the source material wasn’t all that good, to begin with.

The only obvious question that Oswald’s Ghost raises is: how come Mort Sahl wasn’t in the movie? (If you don’t get that joke, you need to brush up on your Kennedy conspiracy lessons.)

Rottentail is a disappointment, overall, and even forgiving viewers are likely to hop off the bunny trail long before the closing credits roll.

Wooden, one-dimensional epic.

Could this version of The Little Mermaid stand alone if the original didn’t exist? Possibly. Howard Ashman and Alan Menken’s songs and story structure remain intact and are its only salvation. But, again, why watch the live-action remake when the original is so much better and suited more for kids?

Overall, Cold Blood just falls flat. Secrets should be shocking, unpredictable, and strongly impact the story. Here they’re predictable and lacks cleverness in discovering everyone’s true identities and motives.

This movie wasn't nearly as bad as I thought it would be. It's still not that good though.

The movie sucks. It's beneath Argento to be making such drek after so long a career. He's better than this.

Just isn't a very good movie. In fact it's kind of like living in the San Fernando Valley where it was filmed. It's big, kind of neat, has nice weather and has all the accouterments of a real city. But there's no "there" there.

Operation Fortune is an action movie. So, how are the fisticuffs and shootouts? They couldn’t be any blander. Yes, there is a lot of action, but I don’t remember anything cool until the end. It’s your standard gunplay, hand-to-hand combat, and car and motorcycle chases.

The performances are serviceable, but character decisions are so frustratingly ill-advised, it is difficult to muster an ounce of interest in any one of them.

Ultimately, Trading Paint doesn’t amount to much more than an easy way to mindlessly kill eighty-nine minutes.

While I admire Bishop Jakes and I frequently watch his sermons on TV, I have to question his tactic of charging people admission to generate hosannas on his behalf.

This is really one of those Rorschach test films. You either love it or hate it. For those who loved it, I have only one word: overrated.

From the final product, not only do I not think Jan De Bont has never seen the original Robert Wise film, I don’t think he’s every actually seen a horror film. Have you ever seen a single computer generated effect that scared you, more than just the unexpected sound of a door slamming behind you?

The bottom line is that the only Texas Chainsaw Massacre movie that you need is to see is the first.

There is a lot that Game Girls forces the viewer to grapple with. The lack of accessible health care, income inequality, race relations, lack of opportunity for self-improvement in the inner cities, and the line between exploration and exploitation.

The series has turned into the cinematic equivalent of a flat bicycle tyre – it starts off with lots of air in it, but can quickly go flat when punctured.

Rarely interesting, always confounding.

As I sat through this two hour stumble through what looked like fog, I just kept thinking to myself how this might be the best looking bad film I've ever seen.

Takes a workable premise wrapped inside a mostly-talented cast and piles it all on poor Bosworth’s shoulders; it’s just not fair, you see how narrow they are.

Putting it in the kindest possible terms, the movie could be passed off as an exercise in style. Because of this, it does manage to be watchable.

The filmmaker’s sophomore feature fails to generate any semblance of momentum or suspense. It’s filled with laughable lines of dialogue and jarringly poor editing. Mario Van Peebles single-handedly imbues it with enough gravitas to make it somewhat watchable.