The problem is, director Robert Lee King has a hard time sustaining the aimed-for camp tone, and while there are a few well-spaced giggles to be had, the movie sputters more than it soars for most of its 95 minutes.

Sometimes in life, simple pleasures can be rewarding, and that’s certainly the case here. Parker is not a particularly innovative film, but it’s no less effective for the blemish.

Despite a lead performance by the always welcome Julianne Moore it is rudderless in its presentation and outright stupid in its central conceits.

Captivating an audience from the get-go and drawing our attention and emotions ever deeper into the layered mysteries of a dreamy fable.

Austenland is as light and airy as a cream puff, and as entirely unfulfilling. Fans of the book may find it amusing, but those looking for heartier romantic comedy fare would do well to look elsewhere.

It’s a sadistic comedy, both in bloodshed and groan-worthy gags.

Ryan Gosling wanted to make an art film and, despite some dull patches, pretty much succeeded.

Rather than thrilling, the courtroom sequences seem only enervating, nudging us toward a quiet outrage.

As executive producer of the film, he (Freeman) clearly sees something in Alex Cross, a man much more interesting than the cheesy plot surrounding him.

A weirdly stillborn experience.

Will eventually be remembered as a disposable farce, but one that leaves a happy memory.

Has its dull spots, and is unintentionally laugh-out-loud funny at times -- but isn't that what we expect?

A careful, intelligent, and seamless design that makes room for a couple of unexpected twists.

More focused and less preachy than its exploitation-riffing predecessor, the comparably shoddy Machete Kills nonetheless peters out in the homestretch (and, for some, surely sooner).

Struck by Lightning may appeal to fans of Colfer’s work on “Glee,” but as a film it’s utterly lacking in scope, depth or meaning beyond an immediate chuckle or two.

There’s gold in the premise of “The Purge” and its dismissal of subtlety. But like the residents of its world, when given the opportunity, it drops restraint and goes for blood.

(Ash and Russell) generate just enough tension to keep the audience interested.

Ride Along is a strong recommend when Hart is talking, but merely a mediocre attempt at a movie when he’s not.

The visual fireworks and catchy score just underline the extreme superficiality of the material.

Tired, overcomplicated mix of macho bullshit.

The action is the real star here, and it’s all good enough. It isn’t great – the aerial special effects are distractingly cheap – but at least there’s lots of it on display.

Faithful to the superficial thrills and flaws of the original.

Given Garant and Lennon’s background on “The State” and “Reno 911,” their scattershot approach as filmmakers isn’t especially surprising; for every oddly specific Shakespeare reference or detour to the local po-boy joint, there’s an ongoing parade of puke and an awful rubber suit with which to contend.

The first sixty minutes of Pompeii are awful, bordering on unwatchable... The final forty-five minutes of the movie however are, by sheer force of will, irrefutably entertaining. At least there’s raining death in the form of fireballs smashing up the place.

Let your children have their childhood while you have a rare, grown-up experience at the multi-plex for a change.

A generally dumb movie with a smart, appealing, gutsy leading lady.