Wolfgang Petersen's popcorn epic doesn't fail exactly. It just takes on too much. Modern man is at something of a disadvantage-even aided by his trusty muse, the computer-when presuming to bring the stuff of gods, myths and timeless sacred texts to the big screen.

3 Days with Dad touches upon subjects like familial differences, living up to your parents’ expectations, sibling rivalry, and generational differences. Too bad it’s all been done before, and better. Its flaccid visual approach and meandering, morose plot may make you pull the plug on your TV set.

On the whole this is pretty standard shoot-‘em-up fare. Bang, crash, boom -- yawn.

Rife with predictability and lacking any originality whatsoever, the lackluster Laurel Canyon demonstrates about as much depth as one of Ian's pop songs.

If only there had been more Salma Hayek.

Ultimately, when Love Actually pulls out all the stops, which it does at least three times during the final smorgasbord of climaxes, it can be well nigh irresistible.

Summer Night has an easy, breezy presence about it, but there’s not much going on beneath the surface.

A tedious, snail-paced mess.

At almost 100 minutes, Lieber’s ode to surfing and overcoming obstacles stretches itself thin. Like the wildest waves Bethany seeks, Unstoppable needed to be more unpredictable, dangerous and, well, gnarly, dude.

Land falls well short of the greatness of Romero’s previous zombie efforts.

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

Lester takes all the wrong approaches.

I adore Plaza as a unique and magnetic actor, but she wasn’t given enough to work with here. Likewise, for the usual affable yet conflicted characters that Brie is so good at portraying, there’s not enough meat on the bones of the role here for her to sink her teeth into. Spin Me Round is like going out to dinner and expecting an authentic Italian restaurant but instead ending up at the Olive Garden.

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.

After a strong takeoff, the film lands on dead grounds.

As promising as the premise sounds, it cannot rise from the mundane.

The novelty of watching vintage lesbian footage just for the sake of watching eventually wears off. This underscores the idea that there is such a concept as too much of a good thing.

With more daring in the direction and more inspiration in the writing, the movie could have been entertaining, even if it was something done many times before. Instead, it is utterly derivative and routine in every aspect. It is a picture that attempts nothing and achieves nothing.

Mangold attempts to send Indy on one last adventure but never recaptures the glory days of searching for the lost ark.

If you manage to sit through the whole film, don’t leave before the humorous tag in the credits.

Even in the final battle over life and death, the only injury she suffers is a slight scratch on the face. It’s too much like a video game.

Exactly the kind of thing most of us have in mind when we think "popcorn movie." It's largely brainless, pretty to look at, and produced solely as a lead-in to another moneymaking sequel for Disney.

Although Byrne always brings a great performance in whatever she’s cast in, I would almost say just go watch her in Platonic. There she, too, plays a mom who deals with the issues of being married and life’s trials and tribulations.

The confused tone and largely inert script render this adaptation more beast than beauty.

The benchmark for any horror movie, of course, is how well it frightens you, and The Grudge is pretty satisfactory in that regard.

Fluff. The cinematic equivalent of too much cotton candy Tetsuya Nanashima's Kamikaze Girls is a hyperkinetic fun house ride that is about forty five minutes too long.

Gratuitously brutal, chronically preposterous, abysmally unoriginal, pretty much pointless and virtually 100% free of credible characters, Derailed represents career lows for its stars while marking an unpromising English language debut for its director.

The Collector’s destructive behavior enters the realm of the ridiculous before it ever touches the land of evil-badassness.