You've seen it in "Carrie", you've seen it in "Prom Night 2", and you've seen it in "Urban Legends 2: Bloody Mary". Oh, you haven't seen that one? Well, join the club. Tamara is a hybrid of all three films.

Sometimes Duck Season is amusing. More often, though, it is boring and icky.

I find nearly every film about mentally challenged characters excruciating to watch...None of these movies ever come close to accurately depicting what it’s like to live with mental challenges.

Goes south early and its director never comes close to turning things around.

One thing that works well is Catalina Saavedra’s performance as the tormented Olga. The actress finds truth in an underwritten character. She reminds us that cinema needs more well-acted, nuanced films about those who are still inexplicably shunned. Sadly, Marylin brings little to that table. It purports to say a lot with a little but ends up saying very little with, well, a little.

Might not have been a bad film if its characters never said anything and some obnoxious visual metaphors were removed.

Despite the cast's capable portrayals, it's difficult to connect with or care about any of these characters as, one by one, each stabs another in the back.

It’s not that Euphoria lacks good intentions or comes off as superficial in its treatment of death and dying. It’s just that there’s so much potential for grace or humor or despair or horror inherent in its premise. It’s sad to see so much of that thematic territory go so thoroughly, if politely, unexplored.

Fairly mundane and frequently boring.

While decent in capable directorial hands – or as a supporting character – based on the evidence on display here, Carano doesn’t seem quite capable of carrying a film yet, let alone pull a dreary feature like Daughter of the Wolf out of the murk.

Fails as a sequel because we’re not in the 90s anymore. Gone are the days when characters could answer questions with questions and hypothetical situations and still sound clever and cool.

The Parish does not even attempt to avoid sentimentality or predictability. Tony Tibbet’s awkward editing reveals a man doing his best to mask budgetary, directorial, and auditory blunders.

Another rah rah girl power film, is your formula sports film.

While The Break-Up fancies itself the heir apparent to other vindictive failed relationship movies like "Modern Romance" and "War of the Roses," its lead actors lack the comparable appeal to hold our interest

For a film that purports to endorses equality and female empowerment, its female characters are so uniformly idealistic they’re borderline interchangeable.

Won't make anybody’s "best of" lists a year from now, but it's nowhere near as offensive as some other examples of this moldy genre.

The film presents the Rwandans in the worst possible way: venal, corrupt, vicious, stupid, barbaric and completely incapable of governing themselves. Honestly, I've seen more intelligent and sympathetic depictions of Africans in Tarzan movies.

Monotonous. For while it offers a few precious laughs, Talladega Nights simply apes the look and feel of most recent Ferrell movies.

Thankfully, there's the relatively-charismatic and cheeky Ice Cube hogging the lens.

As ambitious as this alleged art film may appear - the Bunuelian title proves to be more of a starting point than a true allusion - it lacks any introspection to illuminate the erotic subject matter. (Think Michael Bay attempting to remake "Y Tu Mama Tambien.")

Much of Dreamcatcher just doesn’t make sense.

When is a horror movie not a horror movie? When it’s a strained, by-the-numbers production that limps to an unlikely conclusion like Godsend.

About as anachronistic and generic as an action sequel could be.

I just found it really difficult to follow – not completely believing the motivations of certain characters, nor how some characters would just completely vanish, seemingly without a trace. This film made my head hurt.

None of it is remotely frightening or original, the admittedly good-looking film adding nothing new to this unfortunate horror subgenre.

Campion and company may like to think they've made something provocative, moody and new but it's really just "Looking For Mr. Goodbar" with extra nuts.

Unfortunately, Brooks errs badly by having his film centered in India. Yes, India - which, as most people know, is not a predominantly Muslim country. Rather than look for comedy in the Muslim world, Brooks uses this film to make fun of contemporary Indian society.

The only reason to watch The Kindergarten Teacher is Ms. Gyllenhaal’s performance, whose quality makes us resist until it’s possible.