All of this is goodwill, and food for thought is squandered with the third chapter follows Orin. Without getting into spoilers—He ruins the movie.

I would also like to state for a fact that fight scenes in absence of all other drama aren’t interesting to watch.

Spears, Davis, and company are well aware that they're making nothing more than the cinematic equivalent of Spears' glossy bubble gum pop -- but that's exactly the problem.

Yes, it’s that kind of movie: ludicrous but seemingly unaware of its own pretensions, never quite so-bad-it’s-good, but rarely good enough to rise above bad. The filmmaker seems confident that he’s assembled an “elevated horror,” minimalist masterpiece. Unfortunately, the result is just minimal.

The experience seems filtered. What’s lacking is any trace of spontaneity. We never see anything significant transpire, only people talking about it after the fact. Nor do we hear any dispassionate commentary evaluating Nash’s career from an outsider’s point of view.

Doesn’t break any new ground – it actually steals from half a dozen other sci-fi movies – but it’ll make enough at the box office to justify further game flicks.

"X-Men" sans the intellect and atmosphere.

Still Life in Lodz is at its best when the rich history of Lodz takes center stage. There are some downright beautiful establishing shots that get bogged down by aggressively overbearing music choices and repetitive information. The amount of archive footage and animation does nothing but pad out the already minimal runtime. This type of story doesn’t need these gimmicks and grandiose moments since they clash horribly with the previously set up atmosphere.

If Pachman intended to reiterate the difficult plight of migrant workers, our disregard and abuse of them, then point made, I guess. Yet for a film titled Beneath Us, it certainly never digs deep under the surface.

The film makes an honest effort to present this story as intelligent and thought provoking, but ultimately falls flat because it doesn’t provide enough reasons to care.

All the excessive slapstick and juvenile antics keep the audience from making any kind of connection with the characters and prevents Are We There Yet? from being anything more than another disposable January release.

What's shocking about Superhero Movie is not that it's been advertised to death on Nickelodeon to impressionable children, but that it's a completely on-the-nose satire of "Spider-Man.”

The writer and the director rub our faces in muck until all we see is darkness, providing the faintest ray of light at the end. You will be infuriated – not so much at the witnessed injustices as at the filmmaking team for subjecting you to over two hours of grief and misery.

A Score to Settle reveals itself as a swarm of cliches that ring louder than bullets.

Its storyline is very predictable and cliché but teen girls will no doubt have a good time with this movie anyway.

Ends up feeling like just another uneven British crime drama.

We still love you, Terry. Happens to the best of us. But, man, what a stinky load. Someone get the hose.

For an origin story about one of the most compelling and important characters in history, The Nativity Story is pretty damn boring.

What chaps my hide more is that I've seen 10,000 BC. I've seen it three times in the last year and a half. Except in the one that I saw, it centered instead on Mayans, was mostly historically accurate, and was called "Apocalypto."

What, a white woman can’t take an innocent drive through the ghetto without arousing suspicion? What’s this world coming to?

If a movie like My Bloody Valentine plays like a dime-store slasher picture, then adding 3D to the proceedings will only make it look like a 3D dime-store slasher picture.

So ham-handed and relentlessly overbaked that it is easy to see why audiences initially stayed away from it. Just when and how did anyone come to see this as a classic?

The original “Elizabeth” was visually lush and quite engaging, but this is a sprawling mess.

A touch above the usual adolescent male friendly films of Happy Madison's previous on-screen massacres (see "Deuce Bigalow: European Gigolo" for example”) but it isn't quite as smart or funny as other recent comedies like "40 Year-Old Virgin" or "Wedding Crashers."

It sadly really never lives up to the potential and excellence it's really capable of.

The problem with A Man Apart”is that there is just too much badass going on.

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

It's charmingly bad and an excellent date film.

There may be a lot going on here, but none of it sticks; there’s no momentum or a sense of purpose. In other words, Swift fails to achieve lift-off, over and over.

The movie lives up to its “R” rating in the final scenes, but it’s too little too late.

Bottom line, what I took away from this movie was – that drunk guy sure was funny.

A pointless rehashing of a horrible event.

The only thing wrong with Transformers: Rise of the Beast is that it’s bland and boring.

Given the episodic nature of the film's organization, Jules's monotone voice-overs, and the over-arching theme of search for self, Fish Without a Bicycle "watches" like a TV show.

The oh-so-convenient convergence of plot threads at the climax make the film feel that much more run-of-the-mill.

The Wicker Man isn't all that bad a movie; it's visually striking and ambitious in some ways. It just fails to bring enough to the table to fully distance itself from the original.

I can only recommend this film for die-hard Eli Roth fangirls or people who want to see what a bad film looks like. If that’s you, Borderlands is for you.

It helps immensely that Hart and Cranston play off each other well; or at least when the script is not getting in their way.

Prepare for a threadbare, hole-ridden plot with cardboard characters, whose ludicrous dialogue is matched by the stupidest twists in recent memory. After a feature like this, the only thing that’s on the line is Gibson’s career.

We are here for the gore – which this film has plenty of. Too bad it doesn't have much else.

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.

Go see Western because the first 98% is sly, endearing, and clever fun. As for the ending, do what you did for Aliens III and/or IV: just pretend it never happened.

There isn't much here any semi-regular viewer of "The X-Files" hasn't already seen a dozen times before.

For my money, no movie comes close to capturing the high school experience like "The Substitute."

A lot was left behind in this depthless account of a disaffected ghostwriter who wanted to affirm her artistic gift, freely and publicly. She actually did it with bravery and conviction, but this film doesn’t do her justice. Hence, my suggestion is: save your ticket money and read Colette’s biography instead.

Left me feeling empty inside. There’s no warmth and character from the original Dr. Seuss book, and there’s no substance or soul in the story elements.

All crass in its empty bluster and bogus uplift.

As the narrative lugubriously sticks to the documented events, we are served nothing more than a filmed transcript.

The Happytime Murders eventually ends up spinning its wheels, telling the same joke over-and-over.

My suggestion is to avoid this film and instead rent Open Your Eyes (Abre Los Ojos) the film upon which Vanilla Sky was based.

Obviously, this is one subject which may not seem to require the attention of documentary filmmakers.

The Ant Bully, though short and well voiced, is nowhere near as important or influential as it tries to make itself seem and it feels more unnecessary than anything else.

It just feels like a movie that was made because Cena and Brie agreed to star in it.

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.

Chock-full of offensive stereotypes and puerile in-jokes.

The film does contain a couple of interesting thrills here and there. However, this film would have been better off thrown straight to DVD.

Braga’s direction is so bland and tension-free it could not make a cat jump into a tree. The cast all try their best, but only Robertson comes out unscathed. There is not a single reason to ever watch this movie.

Isn't a terrible film. It's not offensive, controversial or even interesting in any way.

This much-ballyhooed gay cowboy melodrama is an inert disappointment.

Not that the lackluster love story will matter any to the Sandler faithful, who are there to see the star beat people up and work his regular joe mojo on snooty types; those viewers will certainly get their fill and then some.

This movie is only really interesting during the moments of physical conflict that pop up throughout the film. These few scenes are well executed and riveting as hell.

What Flags of Our Fathers is not, however, is moving, evocative, or very unique.

Bottom line: the spectacle he was preparing may well have provided Jackson with the appropriate note on which to close his long, controversial career. This, however, I think even die hard fans will concur, isn't it.

It seems likely that how much you enjoy Nicotina will be tied to how much you enjoyed the Guy Ritchie pictures it strongly resembles. Those who thought “Lock, Stock, and Two Smoking Barrels” and “Snatch” were the cats p.j.'s will likely enjoy Nicotina.

Inspires plenty of head scratching and maybe a little irritation.

The release of Fantastic Four marks the beginning of the end for movies based on Marvel Comics' upper tier of characters.

The problem with Sandler’s latest movies is that he now feels the need to inject some sort of dramatic conflict in order to complete his character’s shallow story arc of maturation/redemption. Introducing such mawkish sentimentality causes the humor level in his films, never that elevated to begin with, to sink like America’s credibility overseas.

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.

Loaded with unoriginal ideas, weak comedic concepts, and underwhelming emotional climaxes, the movie is the definition of bland.

The real problem is that Sex and the City is, except for a few laughs, mostly just irritating.

Depressingly inert.

It’s a weak sequel, to a weak series.

As 9 Songs played out for sixty-nine (count ‘em!) minutes, I started to find myself wishing they would just end the interminable, deliberately underlit, sex scenes and get back to those really hot pics of Antarctica.

Like a head on collision between some nice performances and a really stupid plot.

A mediocre film that presents the troubled poet Sylvia Plath as a jealous, possessive and irritating woman. It is hard to recall another biopic which is so unflattering to its subject.

Not terribly original or funny.

All squeamishness aside, this just isn’t a very pleasant film in general. There’s not a single sympathetic character in the bunch, except for maybe Hyun-nam and she’s a lazy bore. Everyone else is just plain, well, mean. For all the brilliance in some of its action scenes, this sluggish flick feels like a stretched out graduate thesis film.

There’s enough character development for a 20-minute short, and 75 additional minutes are manufactured with slight variations on the same scenes in different rooms of the house.

By the time the film is over it is not so much a "who-done-it?" but a "why-did-we-sit-through-this?"

It's all a case of been-there, done-that, although the singing is nice. Still, do we really need another movie with thirtysomethings who ache to re-live their college years? C’mon, guys, grow up!

So now that I’ve seen one of “the master’s” films, I still can’t tell you what the appeal is. Pistol Opera is unique for sure, it just never made me want to follow it down its strange path.

The reason I hate this movie so much (besides the fact that it sucked) is that there was so much behind it and it still was a bland.

What begins as a poetically offbeat comedy, full of energy and verve, turns woefully mundane as the protagonists become introspective and enlightened.

On paper, You’re Dating a Narcissist! may have looked like a breezy, relatable comedy. In execution, however, a film about narcissism turns out to be almost terminally self-absorbed.

Barnyard isn't a complete waste of time, it's just too familiar.

Unfortunately, Ballistic ultimately falls short in terms of direction.

By the time the credits rolled I was bored rather than stunned by the revelations within the movie and I just want these type of reversal/twist movies to get better, or go away.

Director Jay Roach continues his regrettable "Austin Powers" habit of beating the same shtick to death until nothing of comedy value remains.

The documentary feels like something that could have been deeply engrossing had the filmmaker selected an alternate narrative structure. He needed to deliver more than surface without substance.

Ultimately, The Cow Who Sang a Song Into the Future represents one of the sternest examples of sacrificing the heart of a film for the demands of a specific message. Every genuinely compelling moment is forced to become an object of one-dimensional dogma. And all of the film’s latent wonder is sacrificed at the altar of hollow reductionism.

As whacky as the characters are and as tense as the setting is made to be, the movie drags.

Topical resonance is all that the movie musters, as it changes subject matter on a whim and doesn’t give the audience enough background information on the issues or the interviewees to make a whole lot of sense.

If you love KISS, you'll probably see this movie anyway. If you don't, there's no point.

The best they were able to manage, apparently, was a grabbag of spectral sights and spooky touches grabbed from better horror films and a final act that raises more questions than it answers.

Goi and his screenwriter Anthony Jaswinski must have thought that simply stuffing the film with as many shock tactics as possible would suffice. It doesn’t. This ship goes down with her captains.

Love Hurts is a prime example of what happens when a film spreads itself too thin trying to juggle multiple genres—it drops all the balls. Ultimately, it’s a forgettable attempt at blending action and romance, proving once again that genre mashups rarely deliver a knockout.

Fails to satisfy.

Hardcore gorehounds will be disappointed by the lukewarm scares. Fans of throwback films will groan at the lack of tongue-in-cheek references. Anyone who’s seen a film will groan at the stupidity of it all.