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.

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

Its ultimate merits may be few, but if nothing else, it stands on its own sweaty terms.

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

After Earth stupefies us with nonsense, such little thought and logic went into this idea that it can’t even be considered a rough draft, this is a movie almost daring an audience to emotionally detach throughout. For shame!

She (Lopez) wipes away the unpleasant memories of "The Cell," and serves notice to Julia and Sandra that there's another girl out there who can do romantic comedy-even of the half-baked variety.

So you'll laugh during Big Momma's House -- but the laughs are so negligible you'll probably forget them before you get to the parking lot.

This is a story that has everything you’re looking for, provided that you’re looking for absolutely nothing.

There is no obvious reason for the film's meandering existence: it's a series of beautifully photographed postcards of Africa.

Either I’m getting dumber or the “Transformers” sequels are getting more coherent.

This is still Ron Shelton in good -- not great, but good -- form here, and the rewards are plentiful.

Pandering and tired, Down to Earth lurches from one dead gag to the other, in search of both comedic rhythm and a dramatic pulse. It finds neither.

Frankly, no one in this ensemble is done any favors by Jason Hall and Barry Levy’s screenplay, a “Duplicity” for dummies filled to the brim with double-crossing cliches.

John, John, John -- one more bad-guy role in a bad movie and you're going to need another comeback.

It's not easy to go 12 rounds against a cliche-ridden story like Price of Glory and remain standing. But somehow stars Jimmy Smits and Jon Seda, and first-time director Carlos Avila, manage to survive.

The whole point is nothing more than the revelation that the terrain of suburbia is populated with damaged people inflicting damage on others. This is still news?

Jackman and Judd are sweet together, so much so that you wish they were in a fresher movie than this.

A pastiche of bad film cliches and scenes devoid of any real conflict or character development.

Ephron is still a director whose movies veer uncomfortably between the good -- make that adequate -- "You've Got Mail", the bad "This Is My Life" and the ugly Lucky Numbers. Pity.

Teenage Mutant Ninja Turtles isn’t a movie; it’s a brand re-launch that’s going to satisfy stockholders far more than it’s going to entertain the people who paid to watch it.

Dumb and irritating.

A crap film that's steeped in liberal paranoia, but it's also so ludicrous that it falls under the guilty-pleasure category.

Sound nonsensical? It is.

The true star of this film, funny and often breathtakingly lovely, Zellweger carries virtually every scene in which she appears -- which aren't nearly as plentiful as one might like.

The most frightening thing about the franchise at this point is that it just keeps on going, undaunted by the characteristics by which the first film made its name. Family is still family and a brand is still a brand, but the blade… well, it’s only grown dull.

Not every book should be made into a film and, as appears to be the case with Winter’s Tale, not every book can be (especially this one).

The absolute antithesis to the pioneering punk spirit it tries to portray.

The franchise is sent off in style, a reminder of why it earned such praise and affection in the first place, the wolfpack giving us one final howl at the moon.

Ambitious and perversely fascinating.

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

That it’s not totally dialed in throughout makes it a victim of the same thing most bad movies fall prey to: having the spark of a great idea rested awkwardly on top of a spinning mess of execution.

Merely reconfigures the same predictable gross-out jokes, sentimental platitudes, and decorative sex that figure into half the screenplays in circulation.

Just another lame slacker comedy.

Recycled "Steel Magnolias."

The film is confusingly and sloppily put together, edited down to the point that the few genuine jokes of Let’s Be Cops are given precious little time to breathe, before zipping into the next sequence of increasingly irrational events.

If you're already a huge fan of any of these artists, this film will be a lovefest. For all others, it's a mild diversion at best.

For Stallone, and his original script for Driven reflects a more mature, self-effacing perspective.

Self-conscious clunker.

Should satisfy the planet of b-boys and girls to whom it preaches.

It's insulting and devalues the experience of watching not just this film but all films.

Lurches on for the better part of two hours with a ludicrous plot and even worse dialogue, interspersed with what look like excerpts from a music video made by some naughty Catholic-school graduates.

The entire enterprise is a bewildering mess, put in place only to frustrate and alienate anyone who buys a ticket. Every action scene is telegraphed, and most of the dialogue is irrevocably stupid.

Every scene of Danny Mooney’s directorial debut is brightly lit, every car squeaky clean, every moral dilemma transparent, with evidently thorough period detail undone by production values that lend even the riots an idyllic glow, while foiling the potential for truly dramatic conflict with leaden dialogue and predictable changes of heart.

Insufferably boring, culturally hegemonic, and profoundly ugly.

It's little more than a loose assemblage of Hollywood action movie formulas: "Dirty Harry" and assorted cop/buddy flicks are the clear models for the movie.

Are two Demis better than one? How you answer will determine the level of patience you'll need to sit through this bizarre pet project.

Maladies is at least watchable, though just barely.

The rare example of a film that had to have been a tonal mystery to everyone involved for the entire process of scripting, shooting, and editing. The lingering issue? They never managed to crack the case.

Kids -- may like this movie. But kids like green ketchup, so what do they know?

Drop Dead Gorgeous eventually shows that it doesn't like anybody -- in the movie or in the audience.

The effects never really get ahead of the characters or the script's layered personality.

As the anticipated follow-up to Roman Coppola’s marvelous 2001 film “CQ,” this is something of a letdown, but as a breezy romp it could be far, far worse.

One terrible sub-plot away from being a legitimately good movie.

Doesn't have the courage or inclination to go inside of Dick's ideas, or offer any kind of structured or detailed approach to his thinking or writing.

This lightweight concoction can't justify a trip out to the multiplex, unless you're a girl between the ages of 12 and 17, but it does provide a launching pad for a group of attractive people.

Charlize Theron has charm and skill, but no actress could survive this role, which has the gravity and verisimilitude of a sketch from a late-sixties Nancy Sinatra TV special.

A One-Joke Show.

An authentically spirited popcorn movie.

As with most non-Disney animated features, Trumpet of the Swan does make the Mouse look like a genius.

To the film’s credit, it doesn’t waste much time in doling out shadowy figures and fake-outs for the gullible and easily goosed, and the cast as a whole dutifully delivers its panicked looks and cries in the night.

By any measure, 'Temptation' ranks amongst Tyler Perry's worst.

For me, Trixie finds its own peculiar groove, and-buoyed by a compulsively watchable actress-folds neatly into the off-center work of a distinctive American director.

One way or the other, there really is something to be said for a movie which seems to revel in its own inherent comic-book silliness.

Has a cute idea. Which it promptly runs into the ground.

A standard morality tale, and looks especially weak in the shadow of "Eyes Wide Shut" and "Fight Club," which it resembles.

Don't be surprised if you exit Here On Earth feeling both moved and incredulous.

The film isn't very good. The Million Dollar Hotel is an uneasy melding of Hollywood shtick and art-house sensibilities.

An endlessly contrived exercise in self-referential "black comedy", can't help but strike me as no kind of triumph of anything over anything.

Embarrassing and weird.

Plainly unfunny.

A dismal film, a flop as both 21st-century romantic comedy and gay "Kramer vs. Kramer."

There is a legitimate film in here somewhere, buried deep beneath the rubble of its terrible script and editing.

It's not just bad, it's ugly. Not just stupid but really aesthetically displeasing. The sooner this movie disappears from sight, the better.

Far-fetched, absurd and hopelessly schticky, but if you can get past its boring initial set-up, it’s actually quite funny.

There's a lost opportunity here.

Wants to be many things, but ends up being not much of anything.

It has every element necessary to be a classic, and it never comes anywhere near achieving that potential.

Not quite good enough to leave more than a vaguely pleasant, vaguely disappointing aftertaste.

Sly, slick and slow.

Custom-made for an audience of mouth-breathers.

The filmmakers went for cheap laughs as well as for some a little harder-earned. The only thing pure about this film is the dog, and he's magnificent.

Maybe Kevin Bacon can use the Twinkie defense to explain Hollow Man.

So campy...may be good for a few laughs.

I would rather have been scraping gum off my shoe than sitting there another minute.

Beautiful is a mess, but not without interest.

A painfully unfunny movie.

A fascinating study. What might surprise audiences, though, is how droll the picture is, how much of the violence is just slapstick, and how much deadpan humor is running throughout the film.

If you're looking for something child-appropriate that'll actually keep the little darlings awake for two hours straight, you'd do better...and cheaper...to just stay at home with the Discovery Channel.

God-awful.

Chaotic, peurile, loaded with sniggering commentary and obsessed with breasts, Saving Silverman is like a 90-minute walk through a 13-year-old boy's head.

The animation is only marginally better than the TV show, which means it stinks, and the story is pretty trite.

While the art of action filmmaking depreciates, Harlin remains steadfast in his classicism, even if the movie doesn’t have the foundation to support him.

The film blinks too fast to maintain a coherent vision.

A dismal new serial-killer thing.

Watching Left Behind's plodding screen adaptation may make you feel the Deity has already abandoned us to a shockingly dull post-apocalypse.

I don't like Say It Isn't So, but I understand its karmic inevitability.

Mostly dreadful.

The film isn't merely bungled. It's starved and battered by Lichtenstein.

Borderline incoherent.

A Haunted House, its despicable bigotry aside, is also a not-very-good comedy.

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

An assault on brain cells.

Nearly incomprehensible story.

A movie of fools, by fools, for fools, Grown Ups 2 is easily forgotten, which isn’t as bad a feature as you’d think.

Looks and moves like a film whose vital organs were yanked before shooting commenced.

Valentine simply mines the same tired, predictable slasher-movie vein as everything else he's (Blanks) done thus far. Send this one back unopened.

A frenetic spoof of 1961's disastrous Bay of Pigs invasion, Company Man is likely to be forgotten quickly by audiences.

An epically miserable viewing experience, go ahead and skip this one unless you’re seeking to answer the riddle of what happens when people don’t try at their jobs.

Flawed at its very core.

Far from the worst film this summer, but it also doesn't rate strong enough to be a future video rental.

In the running for worst film of the year... and it's only April.

An almost total waste of time.

If you've seen one "Scream" rip-off, you really have seen them all.

Almost unbearable.

Re-adjust the levels of cinematic hell, because "Porky's" just got bumped up a notch.

It's just another bad horror film with inadequate young actors chased around a big house by something.

Dreadful suspense piece that has "Mystery Science Theater" appeal written all over it.

The worst thing you can accuse an unutterably bad movie of is sincerity.

Horribly slapdash affair.

Silly teen thriller.

Do not bring children to this movie unless you want them to have nightmares for weeks.

Floating this material slightly above the assembly-line level is the energetic cast and the efforts of writer-director Kris Isacsson.

Could have afforded to be a little loftier and still be quite funny. Instead, it's a waste.

Scary Movie 5 is so massively un-enjoyable, a hate crime against cinema, a ringing indictment of the depths commercialism will go to in search of the lowest common denominator.