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

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

It's blatantly manipulative pairing of an adorable young boy and a selfish, honesty-challenged older woman [is] so calculating that I could never get emotionally involved.

This is basically a movie about one neurotic woman and her neurotic L.A. life. .

With any luck, Body Shots will quickly slide into video obscurity.

It's a notch above average, but Whatever It Takes can't get too far above that notch.

You'll laugh, but you'll hate yourself by the time you're out of the theater.

The only thing moviegoers will hate more than the phony, faux-felt conversations of About Alex at its worst is the unfulfilled promise its high points suggest when it’s at its best.

The film looks horrendous, poorly composed and staged, and the rhythm staggers.

It limps, not gallops, across the screen for what seems an interminable stretch of time and leaves the viewer with precious little to show for the experience.

Just because you can make a movie in a day doesn't necessarily mean moviegoers should take an hour and a half to watch it.

The scene doesn't amount to much more than a logical extension of its lightweight premise.

Obvious in its observations, predictable in its conclusions, and a little dull in the telling.

What on earth is Stockard Channing doing in this mess?

The sex we see in Lies does not feel in any way enticing; the protagonists are left seeming pathetic by the end of the film, and few viewers are likely to go scavenging for sticks after leaving the theater.

Regretfully, the beginning of this movie is as good as it ever gets.

This much-anticipated but terribly underwhelming black comedy represents a seriously squandered opportunity.

The heart of this movie isn't two sizes too small; it's just slightly misplaced.

The adherence to specific facts and actual events hampers the film, as it often does biographical movies.

Maladies is at least watchable, though just barely.

Breaks no new ground and is tedious in the extreme.

It's only when you see the movie that you discover how completely the film misses opportunities to develop these ideas into anything like movie comedy.

It's all quite precious, just not in a good way: "Postmodern" to a fault, deeply shallow, infuriatingly trite.

Even on its own terms, it stays sluggish.

Eastwood, who once upon a time was a flavorful director, is working in movie-of-the-week mode here. Cheesy, direct, bland.

Rob Schneider's stab at an "Ace Ventura"-like gamble for stardom.

The execution of that script – is so clumsy and over-written that nothing in it sticks. There’s a symphony of visuals here, and big strange ideas, but when it comes to the actual characters, we get automatons sleepwalking through clichés.

Wrought with pretension -- and a blind eye to its own exploitation.