The film has the feel of something conceived and whipped together in very little time, perhaps to make its own built-in deadline.

It doesn't help that even the pratfalls in A Thousand Words look tired and recycled.

It takes too long for the story to come around to the fact that Will is just plain nuts - and even then, he gets over it in a heartbeat.

The goof on New York's awful elite only gets grimmer and less viable as the film goes on.

In another light the group's - and the film's - portentous resolution looks a lot like quitting, in true slacker style.

With the out-of-nowhere success of 2016: Obama's America, the nation could finally have a conservative counterpart to Michael Moore. I say the nation rather than the Republicans, because a balanced box office is good for us all, at least as a reminder of our right to oppose the current government and make a profit in doing so.

Skyline is a piece of junk, even in a movie climate littered with expensive - though sometimes fun - junkiness.

There is enough lurid, ludicrous subtext in the material to keep fans of such things happy. As trash, this is top of the line.

The picture is directed with such a loose, slack hand that you'd think Craven had never directed a slasher-thriller before: I didn't jump once; I never even felt vaguely scared or creeped out.

As Nathan, the teenage hero of Abduction, Lautner shows he's handy with stunts, many of which he clearly and impressively performs himself, and good with a fight scene. But when it comes to exchanges of dialogue, displays of emotion or just standing around, he's stiff and manifestly uncomfortable.

To describe what unfolds as a slow burn is to be awfully generous.

"Piranha 3D" was ridiculous, gory and fun, everything Piranha 3DD is not.

The original "Saw" was smart enough to tease its audience, to literally restrain its characters and gradually dial up the dread, setting the table for a truly shocking twist. The latest just wants bigger and bigger bangs.

Number of chipmunks who speak fluent chola when necessary: three. Number of Spider-Man/Pepe Le Pew mash-ups I can't really get into: one.

It's as if, after years of playing characters with temper issues, Sandler has finally let some of that repressed rage leak out toward the audience.

The Roommate has notched an unbelievable achievement; it makes the second rate "One Tree Hill" seems like it was about something.

It goes down like a canned but genial '80s comedy: Without fanfare or much nutrition; part of your balanced breakfast.

Over-narrated by Kiefer Sutherland in full "this is extremely important and also very, very cool" mode, from its first self-important minutes Twelve seems as if it can't possibly be serious. Would that it were not.

Less a film than a product, New Year's Eve is so carefully calculated as to be, in its own way, admirable.

Fox and Rourke embody Lily and Nate's lost souls with vulnerability that's at once strikingly sincere and strange, particularly for two actors renowned for their impunity both on and off screen.

Shark Night isn't fantastic, but it's a good enough time, and it'll never be better than when it's watched with a rowdy crowd in a theater.

As played by Heigl, Stephanie is mind-blowingly charmless.

It’s so ineffectual and unfocused that after it’s over, you’re not even sure you watched a movie.

Completely harmless and inoffensive, and at the very least, Shyamalan appears to be having a little fun here.

The reality of The Devil Inside is that it's a half-hearted patchwork of ideas blatantly lifted from better films, with characters who have to act increasingly foolish in order to allow the action to go forward and an ending so anticlimactic and abrupt that the audience at the screening I attended erupted in enraged boos as the credits rolled.

Somewhere in there is a little blonde girl and her dreamy princeling, but damned if I could see them through the dreck.

An incomprehensibly garbled, derivative attempt at a horror flick from first-time writer-director Todd Lincoln.

You want to tell Six that yes, we get it already. But then subtlety isn't exactly his thing.