The premise of Night at the Museum is definitely a bit more creative than the standard family films we are used to at this time of year, but the problem is that the film is marred with many gags that are outdated and therefore feel cheap.

Sigourney gets some good "Rambo" lines, but about halfway through the film her alien super powers go dormant.

The end result is a slow (occasionally glacially) paced movie that relies more on soulful facial expressions than dialogue that honestly represents what the characters are feeling.

You can expect the same defecation and drug humor that crud up comedies of this ilk. Of course, its vacuity is intentional, and maybe we could always use more movies of the women-behaving-badly variety. But there’s also a real danger in perpetuating this type of teenage girl; it propagates the idea that, for women, defiance is power, radicalism is freedom, and being really hot is often all you need to survive.

Well-crafted and, in places, highly informative, but with the exception of some of the original film's hardcore sex scenes and the aforementioned Mob angle, there's little we haven't been exposed to before.

This is a curious example of taking a hair-raising story and draining the drama from every corner, leaving it a bit flat and ultimately forgettable.

You'll either walk away with a headache,or praising filmmaker John Maybury for his unique narrative...and it is unique, but in my eyes, it's also a big giant mess.

The animation is workmanlike in its execution, delivering more seamlessly perfect digital commodity level output.

It features likable characters, and though it may not offend or make you laugh, it ultimately leaves you smiling. However, you can’t help but feel a sense of loss regarding the potential the film and its story had to be truly great.

Given their lack of training, nearly all the young performers do a commendable job. It's the director who slips up by, among other things, dividing his cast into such predictable phyla.

An even bigger issue: things start sinking by the opening minutes.

Unfortunately, I have to admit that the tenor of the movie is almost unbearably cheesy and sometimes verges on infomercial territory.

As a romantic comedy, Definitely, Maybe is an explosion of sweetness and hugs that might cause your stomach to churn if you don't like your sentimentality too strong.

Beyond "Streep camp," Julie and Juila falls into the drone of current historical movies, namely, the time-travel period treatment.

An unnecessary addition to the middling pantheon of pot flicks, Breaking Habits, like mid-grade schwag, is unlikely to get you buzzed.

A sometimes gripping but mostly routine shoot-em-up about Muslim terrorism in American.

Long before you buy your ticket to the new Jim Carrey film, you've already been doomed to disappointment. Several parties play a role in this. Interestingly, Jim Carrey isn't one of them.

It is occasionally a first-rate action spectacle, but it is only the spectacle that merits recommendation.

Only time will tell whether REPO! can live up to its cult potential, but the potential is most definitely there.

The film features several highs but ultimately too many lows to craft a compelling rallying cry.

A series of pretentious social commentary punctuated by windows of excellence that only make it more frustrating.

At 75 minutes, Ottolenghi and the Cakes of Versailles goes down easily but lacks a distinctive flavor.

Jared Leto's performance as Maurizio’s cousin, Paolo Gucci, is so over-the-top that it bursts right through the top and swallows up the film whole. Unrecognizable under layers of make-up, speaking in high-pitched, heavily-accented intonations, he’s a live-wire but also a caricature that borders on nasty stereotyping. He out-gagas Gaga (who’s at least partially of Italian ancestry), which is no small feat.

The Darjeeling Limited isn't so bad as to offend those who love Wes Anderson too much, but it is not the triumph that his previous films have been.

Overall, the film will please horror buffs, but casual fans or game purists should look elsewhere.

The last 20-minutes of the entire one hour and twenty-seven minute run time really work and successfully make the case that as much as the humans rescue the cats, it is also vice versa. It is just too bad that the first hour does not reach those same heights.

There's a lot of talent in this offbeat drama about two odd balls from Down Under, but somehow all the pieces don't quite fit together.

The biggest downfall of Relay is the ending.