Broken Lizard manages to poke fun at the genre without falling into the trap of recycling old Scooby-Doo jokes.

Evening”has so much going for it. A great cast, amazing visuals, and solid directing throughout. So why did I leave the film saying aloud to the parking lot, "I didn't like it."

This feels like a high-budget television drama. Let’s face it, Jackman, Dern, and Kirby can elevate pedestrian dialogue, but they deserve higher quality work for their talent.

Kills itself with unrestrained negativism, but almost resuscitates itself with some great comedy.

What is lacking in the script is made up in the action sequences and scene compositions thanks to Fleischer’s vision. Though the main cast struggles to overcome the limitations of the screenplay, their banter and playfulness are enough to make me willing to sit through another installment of this potential franchise.

A profoundly unnecessary movie, The Girl From Monday is an embarrassment.

Smart, complex, and engrossing idea-driven action thriller.

This Brazilian thriller blows a heck of a lot of hot air, but really doesn’t deliver on the ass-kickings it so threatens.

Dreadful.

This is a great little thriller with some genuinely creepy moments.

The only mildly interesting bit of casting comes from bringing Cartwright back (as one of Bennell’s patients).

The film is, like "Super Size Me," extremely entertaining and, again, Spurlock shows that if it's one thing he knows how to do well, it's the first 10 minutes of a documentary.

A better-quality sequel, but that wasn't really too difficult. The original was one of the worst movies of 2005, and while "Rise" won't win any awards, it's (mostly) less offensive than its predecessor. Faint praise, but I'll be damned if I go any further than that.

Too much of the time, Jackson is a complete blank, like he's bored with his own story.

Firewall’s predictable second half betrays the film's early promise.

What this movie needed was a leaner narrative focusing on Earl and Marshall while keeping Moore’s character in the background. What we end up with is a goofy and occasionally enjoyable mix of horror, comedy, and action that can’t entirely shed its excess narrative flab.

Heavy-handed melodrama that rises above its manipulative trappings on the solid performances of the cast.

This is by the books in every way, funny and undemanding ... and also rather sweet and heartwarming.

With nothing in the way of inspiration coming on either the writing or directing end, it's up to the actors to maintain audience interest and emotional engagement, and two members of the cast rise to the occasion: Kline and Christensen.

The script offers up some deviously clever twists and dark laughs reminiscent of the over-maligned French (coincidence?) Stewart spite-a-thon, “Love Stinks,” only with a jaunty European twist.

It is definitely the weakest movie of the Weitz catalog and will certainly be forgotten faster than Hung himself.

A Minecraft Movie is not funny, exciting, or clever.

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.

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.

The able cast can't swim through the muck.

Blue Night plods along for 96 Minutes, creating a surface-level exploration of its character’s life.

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

There’s something fundamentally unconvincing and contrived about the story. Forget the fact that O’Connor hauls out every cliché in the bad cop handbook and the dialogue is more boilerplate than hard-boiled. The premise itself is just plain preposterous.