Worth making a little noise about if you’re a horror fan.

The audience is ready for an unhappy ending -- and Hollywood should have the courage to provide it.

It's not bad; it's just completely inconsequential.

The violence is so indifferently presented that it has no kick; it’s not grim or graphic enough to shock, but it doesn’t rev us up, either. The picture’s various shoot-’em-up sequences are so generically conceived and shot that each one is indistinguishable from the next – by the movie’s end, they may as well all collapse into an exhausted heap.

An excruciating misfire.

Looks like a very cheerful and imaginative accident.

The film’s tone is wildly uneven.

The idea of the film is certainly clever enough, it’s the execution that lacks finesse.

For all its darkness, [it] never really scares up anything new.

Backtracking dilutes the few simple jolts that actually work.

Renders the net result fairly squarely unenjoyable, on almost any level.

Spacey and company deserve better.

Only completists need check in with Homefront. The rest of us can just stay home.

While we may like what we see, it's impossible to comprehend what much of it means or why we should care.

Lots of laughs, lots of fisticuffs, lots of cool toys, lots of stuff getting blown up: Who could ask for anything more from a summer movie?

What makes The Cell worth viewing at all is the carefully sculpted imagery.

A mixed bag, all in all (casting Huey Lewis was not the best idea), but worth seeing.

You won’t be upset you saw it, you’ll have some fun, you’ll see Wolvie beat the living hell out of a helicopter. These are good things, and it’s why studios are provided huge budgets to play with in the first place.

It’s the odd touch of local color — like the backdrop of an abandoned amusement park, or the arrival of a Civil War steamer crewed by Confederate zombies — that makes these routine acts of derring-do a bit easier to bear.

Dead Man Down is actually mildly entertaining, without being particularly fun.

The plot is convoluted.

A snoozy-but-diverting, lightly constipated B-movie.

At first, it’s all fun and games whenever somebody gets hurt, but that’s not enough in and of itself to sustain the movie’s tension. We’re left waiting for characters to die off without much of a vested interest in anyone’s survival.

The film’s finely tuned middle act, a fast-paced and quick-witted journey into (possible) madness, eventually gives way to an unsettlingly over the top final section that relies far too much on larger setpieces and supposed “big scares” that are never as good as the smaller, weirder stuff.

It's hard to root against Death when the people involved are never brought to life in the first place.

The Other Woman eschews plenty of standard genre expectations to make an unexpectedly friendship-friendly film.

Atrocious bit of by-the-numbers screen filler. And anyone who easily lapses into sugar comas is advised to stay far, far away.

Lyonne, as usual, does her best...but she's running uphill.

Basically a drama-in-disguise. Unfortunately, it’s a formulaic and extremely uneven one, albeit with a number of sympathetic performances.

The small reward is the cool, confident presence of DMX, who shows signs of being a great leading man. But only in a much smarter, more original movie.

A visually colorful but otherwise vanilla continuation of the series.

An odd, sweet and relatively innocuous little fairytale.

It may be possible that people who never go to the movies will stumble across Blow Dry and find it a charming way to spend an hour and a half, but the rest of us will have the ending written in our heads by the end of the first five minutes.

It does yield solidly comic performances.

A nicely-made action-thriller, one with analog car chases and non-digital explosions, like a long tall glass of cold water in a world that mostly offers you Bud Light or Crystal Pepsi.

Nothing less than stunning: a slapstick ballet of choreographed buffoonery.

It’s all, quite strangely, boring.

A more than worthy (and weird) holiday diversion for the whole family.

Hollow, uninteresting and false.

One of the least endurable films of 1999.

A nice enough reminder that as time goes forward, we have to as well.

It can be treacly -- but in a crude way, it makes its point.

Sandler repeats his sweet-souled doofus routine, with nerdy Patricia Arquette as the object of his affections.

What we have here is a small story in an oversized setting.

Comes across as a deceptively streamlined comic-drama; an unnervingly violent, gritty film noir with a wink.

Co-writers and stars June Diane Raphael (“Whitney,” “New Girl”) and Casey Wilson (“Happy Endings”) are genuine and true comic performers. Even though the story stunk, the set pieces were uninspired and the direction was downright wretched, when these two are “on” and doing schtick, they are absolutely fresh and hilarious.

For all of Krauss’ clearly good intentions, the film still falls staggeringly flat, even with the inclusion of a bold and unexpected performance from Vanessa Hudgens, doing her damndest to break out of the Disney mold and turn in actual work here.

For a movie with the ostensible mission of spreading the Gospel, it does a poor job of speaking to anyone except the faithful.

The movie is a mess.

Hogan's rough-and-ready charm remains intact, but it's not enough to salvage this instantly forgettable movie.

The fact that Johnny Depp alone gets top billing above the title, The Lone Ranger, despite not playing said character sums up the generally misguided approach taken by Depp and the creative crew behind the “Pirates of the Caribbean” franchise in bringing last century’s radio and TV hero back to the big screen in a big way.

Educational content, clever and photorealistic dinosaur CGI, and John Leguizamo voicing a prehistoric bird. What else would one need for a fun movie stew?

A pleasant surprise that The Crew offers up the charms it does.

A largely unenlightening work.

Relentlessly awful.

There’s no way to overstate the gorgeous look of this film, but the mannered dialogue and deliberateness of pace becomes less of an homage to Asian revenge films than a parody.

Tries so hard to push all the pre-ordained buttons, and it's so anxious to be liked, nay, adored, that it left me sullen and uninvolved instead.

Does have its share of bona fide chuckles, but it falls shy of its possibilities.

Not quite Abbie.

Has some good throwaway gags -- but far too often, the moviemakers don't throw them away soon enough.

The Canyons has all the elegance and depth of a daytime soap opera, peppered with flashes of name brand nudity for a tantalizing hook. It’s a slog.

I haven't got the slightest idea whether these characters are meant as satirical targets or as a reasonably fair cross-section of Today's Youth.

This anti-narrative screwball comedy, a sort of police-drama re-enactment of Fellini's themes in "8 1/2," keeps most of the jokes off-screen.

The most awkward thing about That Awkward Moment is that the majority of it just doesn’t make much sense and, as a relatively light-hearted spin on the romantic comedy genre, it absolutely should.

Lost its chance to be anything but an endurance test for the viewer.

Could have been a fun film, but instead merely displays the trappings of one.

What keeps Stardom watchable is Arcand's droll humor.

These are good people, yet the director has them carrying on like community theater actors playing to the balcony. It isn't fair to them, and it isn't fitting for Shakespeare.

Like a swollen boxer's eye, it should have been cut.

The new dud from Miramax's Dimension label.

This film, a remake of a hapless 1974 cheapie of the same title, can't even get the big chase right.

The Host gets bogged down in its “who’s kissing whom now?” dynamics, and it becomes all too easy to snicker at it.

Horror presented without restraint or apology, as a full-bore, blood-soaked load of nomad nastiness caught in constant forward motion.

Watching Identity Thief will steal nearly two hours of your life that you’ll never get back. It takes far more than it gives.

Cripplingly lifeless.

A sequel from hell.

At the end of the day, it’s a sure-handed sequel, but not a terribly thrilling one.

In short: Don't expect a lot of laughs.

A directorial debut composed of many of the filmmaker’s trademarks (strong women, pop cultural-heavy dialogue, a difficult subject matter made light by way of wit) that still manages to disappoint when it comes to the final product.

There isn't a moment of wonder or poetry in its very long 69 minutes.

Not recommended for anyone but the hardiest of animation completists, this one is a definite skip. There’s nothing to note, nothing to grasp, nothing in which to find mirth. You could Escape from Planet Earth, but you’re better off just ignoring it.

The result is a film that grows worse with each passing minute, as the vibrant and complex Diana is reduced down to a daft, dumbstruck love addict, a biopic that tries desperately to humanize an already beloved and relatable human being and makes her look comically idiotic and empty in the process.

For a good 40 minutes or so in the middle of this movie, De Palma is in his element.

Moss -- in her first big role since "The Matrix" -- is the main reason to see Red Planet, a badly written and visually scenic space opus.

Has a warm and intimate feel that helps push it a little deeper than its cable movie-of-the-week blueprint.

15 Minutes is simply a bad movie.

In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.

The Smurfs 2 is not so much of a film as it is a collection of images and sounds that bludgeon you.

Little chance of finding realism or romance but the laughs are there.

Full of sound and fury, signifying absolutely nothing, End of Days is the loudest and least of the year's end-of-the-world movies.

What on earth is Stockard Channing doing in this mess?

Not a waste of time, but not quite in control of its destination.

Yes, surely for them, the lucky few and probable many, 21 and Over will be the Best Movie Ever. For the rest of us, though, it’s something of a chore.

Even when compared against other films that have been adapted from Nicholas Sparks novels, Safe Haven is terrible.

Little entertainment value.

The Lifeguard is a painfully dull (alleged) drama utterly lacking in originality or self-awareness.

There's nothing here but a messy lump of coal.

She's not a real person, in any way, shape or form -- which makes watching Lara Croft: Tomb Raider, the first in a projected series of live-action films based around her exploits, a visually spectacular yet oddly cheerless experience.