These days, Adam Sandler is a bottle of beer that’s lost all its bubbles — cheap, mass produced domestic beer. So let’s focus on what works in his latest, Blended, because he sure doesn’t.

There's nothing thrilling about summarily dispatching everybody who isn't meant to survive to the credits, nothing entertaining about meathook, hatchet and chainsaw murdering that we've seen scores of times.

Tedious as all this vampire exposition is (and there’s a LOT), the jokey tone here is much appreciated, with everyone “a few corpuscles shy of an artery” and the action as predictable as “a porcupine in a hot tub.”

Winter’s Tale has no narrative drive and too little heart to come off.

As "Hangovers" go, Part III isn't challenging or unpleasant, just instantly forgettable. It won't take much to sleep this one off.

An old fashioned romantic mystery that benefits from a wizened, much-honored cast and a still-exotic setting.

As instantly forgettable as the pleasant but unremarkable tunes Miller, Sagal and assorted soundtrack artists sing during the film.

The humorless, generic, and chatty Frankenstein served up here makes you wonder if the good doctor, in all his patching-together of parts, didn’t forget the brains.

Greenwood and Richardson make a fine, discordant couple and the young leads have a certain chemistry. If only Feste had realized she’d stripped almost all the conflict out of the story.

"What's the worst that could happen?" The answer to that is, you could end up in a summer comedy that's barely funny enough to warrant — ahem — release in the summer.

There are interesting story elements and locations. But the claustrophobia of the car works against it.

A slick, upbeat Church of Latter Day Saints-backed documentary that aims to answer the image of the church and its members “shaped by the media and popular culture.”

The singer and tabloid darling Chris Brown more than holds his own with this crew, apparently not even needing a dance double.

Here’s the sort of scruffy action comedy that suits the post-box office-draw careers of one-time hipster John Cusack and fading action star Thomas Jane. It covers the costs of a fun few weeks of working vacation in Australia and provides a few on-screen laughs along the way.

Hector might have been better off staying at home and reading a book, which also pretty much applies to the audience, in this case.

The Best of Me plays like the worst of Nicholas Sparks.

Loud and tedious, “Die Hard 5” is a shaky-cam/Sensuround blast of bullets and bombs, digital explosions and death defying feats of defying death.

It’s a movie of pointless scenes.

Coarse, crude but often cute, The Big Wedding serves up the spectacle of its title, and the bigger spectacle of four AARP-eligible Oscar winners cursing like sailors.

It’s a sentimental, sometimes moving affair... It is also at times a reminder of how hard it is to manage a decent Civil War movie on a limited budget, and how hard it is, even today, to tell a Civil War tale untainted by revisionism.

Rage lets us see where all the money was spent — on Cage, and on a noisy, metal-rending car chase through scenic Mobile. It’s head-slappingly dumb, it’s dull and even the novelty of filming outside of the over-filmed Los Angeles adds nothing.

A lump of cinematic coal Perry’s shoving into America’s stockings this holiday season.

Cranking out two formulaic movies like this a year show the Atlanta mogul’s true ambition — replacing all those soap operas TV is canceling, two hours at a time.

Would No Good Deed have anything worth talking about without the Ray Rice sucker punch tie-in? Barely.

It’s coherent enough, but entirely too long and unpleasant when it could have been one brutishly edgy hoot after another.

No One Lives has to give away its biggest, best secret (the killers have messed with the wrong guy) far too early for its own good.

“Obama’s America” flutters to the ground like so much GOP convention confetti, all assertions, few facts and little substance other than the conspiratorial right wing talking points that are how D’Souza’s makes his living.

A stylish, moody and atmospheric tale contorted into a young adult horror story, it never works up a decent fright.