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.