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.