Doesn't have a lot to offer that hasn't been done better -- and worse -- in hundreds of ghetto-sink shoot-em-ups.

A fireworks show with plenty of "oohs" but not a lot of "aah" -- the story is needlessly convoluted in places and storybook-simple in others, and the characters never make the leap from drawn figures to flesh-and-blood people.

This could be the year's most pretentious Hollywood film.

Rung with numb inarticulateness.

Stranded in superficiality, the film is a lifestyle commercial.

Slick, polished to perfection, derivative and stripped of any of the real quirks or idiosyncrasies that make a romantic comedy fly.

Call it baseball interruptus, or just call it a missed opportunity.

In this case, I have to say, the sense of boredom.

Not terribly enjoyable to watch.

Wargnier is also a lousy storyteller who seems not to understand how to shape a narrative.

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

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

Isn't a bad action movie -- it's just an utterly forgettable one.

When your characters are only skin deep, so is your message.

He spent 28 years in prison and this is what he gets?

A constant video rental for a community that aches to see itself as banal and generic.

Not even Goldberg's near-flawless central performance can polish Kingdom Come beyond mere soap opera pap.

As the movie plods on, the jokes start to fall flat...Worst of all is a centerpiece scene, when Ben has to pretend to be a mafioso (but sounds more like a cross between Martin and Lewis), when Crystal is so unfunny that you almost feel sorry for him.

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

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.