The movie wastes the talents of its two leads by refusing to take any risks with the material, marching in lockstep to every genre cliché.

The one lesson learned from watching this film is that Canadians can make movies just as badly as anyone else.

Blitz disappoints on nearly every level.

An Italian-British-French-Spanish-Romanian co-production. A better argument against multinational cooperation cannot be imagined.

Writer/director Gary Burns offers a suffocating experience which is too boring to be accepted as a satire, too lame to be accepted as a farce, and too infantile to be accepted as a drama.

Good news is that most of the marvelous English dialogue cast from the Cowboy Bebop series has returned for the film. The bad news is that the heart and soul of the series hasn’t.

The actors do what they can, but even the talent assembled here can’t help getting swallowed up in the Shyamalan vortex of nonsense.

In order to spare you the trauma of this cinematrocity, I'll go ahead and tell you how the film turns out. Who killed the General's Daughter? The filmmakers did.

Nary a moment rings true, nary a moment elicits anything close to chills or dread – or, at the very least, unintentional laughs.

Not since "Peacemaker" have we witnessed such a battle of wits.

Dark Water isn't a bad horror movie, simply because it isn’t horror at all: a full hour passes before anything remotely scary occurs, and all the suspenseful scenes take place in the final ten minutes (and are all fully shown in the trailer). What's left is tedium and a seemingly endless build-up to nothing much at all, making it a bad movie. Period.

A Wizard’s Tale is blandly animated, badly edited, terribly, terribly written and its dearth of creativity hurts its core conceit. While most of the voice actors try their best, it is all for naught.

Perhaps it is a shame that no one thought of digitally restoring and theatrically releasing the sex videos that Crane made with the many women he pleasured...that would have been far more entertaining than anything found in Auto Focus.

Nothing here is left to the imagination, Pesce running down the list of clichés and ensuring he includes every single one. Once the realization that this is yet another cheap-o retread settles in (about 10 minutes in), the rest becomes agonizingly painful to sit through.

A mildly stylish feature without any clear vision or purpose.

The movie contains not one surprise, not one shock, not one scare, not one bit of interest for any moviegoer over the age of ten (mentally or physically).

I'm sure that an interesting film could easily be made about girl surfers, this just ain't it.

A film that normally someone like Adam Sandler would star in, but for some reason Matthew McConaughey decided to star and show that he's still not funny.

Emily Blunt’s Victoria and Rupert Friend’s Albert come across like museum mannequins – utterly devoid of any genuine passion.

From its unimaginative opening, involving a dumb tourist falling to her death to the anticlimactic day-lit finale (if you get this far, you deserve some sort of Steve Irwin award), Black Water: Abyss will make you want to Crawl back into Lake Placid. To reiterate: if you’ve come for the croc, you’ll be sorely disappointed. If you’ve come for anything else… well, why did you come at all?

A sour attempt at making a Farrelly Brothers-style, down-and-dirty laugher for the female set.

Every modification fails to improve the tale, and the whimsy and wonder of fairy tales are missing. It does not honor the original but shuns it instead.

Alyssa Milano is a delight, but her ten to thirteen minutes of screen-time mark her as more of a distraction than substantiation.

This is yet another example of the Big Studio pushing out a film for the sole reason that they own the intellectual property and believe that we, like sheep, will see it because… well, we’ll see anything because we’re desperate for content.

Yes, the film is an allegorical modern fairy tale with plenty of pretty obvious social commentary, but if I can't identify with one character or be made to care, then what's the point?

Even understanding the audience for which Kicking & Screaming is aiming, it's hard not to notice the flaws.

There is potential that elevates The Luring from traditional small-budget horror output on a visceral level, but sadly there are no amount of balloons that could elevate this to a recommendation.

Ice Road: Vengeance hits all the beats of a standard action movie as subtly as an out-of-control vehicle tumbles down a precipitous incline before crashing and bursting into flames. There’s nothing fun or exciting or even interesting here.