Speaking as a reviled straight male, I would say that the only true saving grace about this film is Penelope Cruz's performance.

Run -- don’t walk -- from this film or you might end up watching a bad CGI character do a painful Dr. Evil impression.

Reflecting on Sokurov’s other recent work – like “Russian Arc” for example – The Sun is a giant step down. It’s an outrageously long-winded drama that’s awfully directed with the skill of a high school play.

Just make sure you exit the theater before Simpson's god-awful version of "These Boots Are Made for Walking" starts playing during the end credits, or you may find yourself taking the straw from your drink and puncturing your own eardrums in self defense.

The Quiet is best for cheap laughs by jaded moviegoers with absolutely nothing better to do with their time.

Unfrosted is dumb. Not only is it dumb, it’s stupid. It commits the sin of being a comedy that thinks its funny. The film goes wrong in so many ways.

Better than I expected, but since I expected it to be a horrific failure, that isn’t saying much.

The plot lurches from one awkwardly-staged, heavy-handed, poorly-lit, bathed in eye-scorching soft-focus sequence to another with little regard for tonal shifts or narrative fluidity.

The Reaping isn't a total failure. Swank is never less than competent.

The writer-director’s perverse, continuous, and purposeful avoidance of any semblance of genuine emotion or coherence results in an aggressively unpleasant experience.

Nothing more than a big old chunk of horse poop.

Christopher Munch wrote and directed this feature and it is nearly impossible not to feel deep-seated anger towards him for what he has wrought on screen.

The primary problem with “Rabbit Test” was that it was based on a hoary one-joke concept – in this case, a man becomes pregnant. But Rivers had no clue how to take the concept and expand it into a flowing, coherent comedy script.

Sadly, the greatness of Jaa's movements are drowned by an ocean of bad editing, terrible dubbing, disorienting action sequences, and repetitive fight sequences that feel as if they were copied straight from a side-scrolling videogame like "Streets of Rage."

Lackluster dialogue, ludicrously unbelievable storyline, and the fact that the entire film looks and sounds like it was shot on a camcorder mean nobody outside of the studio’s target demographic is likely to check this out.

The film is professionally made but a thorough bore at every imaginable level.

Kids of all sizes and genders are going to be disappointed.

A wholly inept action experience that works at boring us to tears.

The audience will respond better to ENTERTAINMENT than a club to the head.

The plot itself is a disappointingly gory concatenation of two recently forgettable sci-fi thrillers; "Hardware" and "Event Horizon."

Easily the most surprising comedy of his career. The surprise: it's not funny.

What the movie needs more than anything is a script. The story is very disappointing and near the end, things start to get weirder and weirder.

A movie celebrating the life of the greatest military conqueror the world has ever known should feature a bit more conquering.

Ultimately, Eurovision Song Contest: The Story of Fire Saga fails to transport us into this hyper-realistic world of Iceland as Ferrell is equally unable to endear us to his character of Lars in a film that didn’t need to be two-hours long.

Let's start with the obvious: Olyphant just isn't that intimidating an assassin. Think of some of cinema's more memorable button men: Léon, Luca Brasi, Frank Nitti...that's right, not a pretty boy in the bunch.

Offers neither horror nor style.

Every so often, a motion picture comes around that’s so dreadful you wonder what prompted anyone to want to waste their time making it and your time watching it to such a degree. When I’m a Moth holds that dubious distinction.