Little kids should like this film. But the smarter humor and in-jokes from the first are gone, which is going to lose a lot of the older audience.

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.

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

Never quite clicks, primarily because the central male characters are badly miscast.

While we do get a bit of gore, the movie is really about this wacky bunch of people jumping on each other's nerves, kind of a zany hero's journey.

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.

Caught between worlds, Disturbing the Peace isn’t as fun as it begs to be or as eloquent as it’s trying to be.

The film teeters on a fine line between soulful triumph and B-movie cheese.

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."

Schadt’s story is solid in choosing the three paths for his characters to go down. He then takes the consequences of their inaction to its logical conclusions and a decidedly thriller-esque conclusion.

Did what I had yet to see any other entrant in this arena do, it crossed generational lines and had 18 year-olds and 50 year-olds talking about the merits of the same film.... and that is truly it’s greatest accomplishment.

New territory for the Vermont director, and he shows every sign of feeling right at home in it.

It is films like this that make me think that if Mexico suddenly went to war with a superpower, and the Cancun area was nuked into oblivion during a spring break weekend, that the world might actually be a better place.

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

What really grabs your attention about Undead, however, are the effects. For a movie budgeted under $1 million, the Spierigs have done an amazing job putting together believable visuals.

It's more about watching an ensemble cast try to one-up one another's performance than anything else – and for what it is, it works.

Elektra isn't just poorly executed, it's emotionally false and makes absolutely no narrative sense.

A complete bloodbath.

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.

It's throwback, formula Ah-nuld all the way, a straightforward and simple revenge thriller.

Since Equilibrium shamelessly rips off every Orwellian science fiction thriller in film history, what other reason is there besides sheer desperation for the film to be so stupidly violent?

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."

The same problems that plagued the original are on display here. Most notably, the lack of any coherent plot. Lots of creepy kids jump out at us, but these scenes are never satisfactorily meshed into the story itself.

The visual effects are haunting, the costume design by Juliana Hoffpauir is delightfully fanciful, particularly for Shaw’s scenes as a nameless masked demon. The cinematography from veteran cinematographer Shane F. Kelly is a sight to behold. Basically, The Blazing World is gorgeous. It’s also incredibly well written by Peirce Brown and Young.

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

Too bad Guy Pearce who plays Kendall, the obvious villain, couldn't do the same thing. His awful performance here will almost make you forget he was "Memento" and "L.A. Confidential."

Not exactly screwball, and not exactly sentimental, but an uneasy and uncertain mix of the two.

Its cardinal sin is a complete, total, utter, extreme lack of originality. The title does it justice, really. Sacrilege will most likely be viewed as such by horror film aficionados.