Gets old fast.

If you go searching for an original idea in this tiresome thriller about a soul-sucking demon doll, you won’t find one.

Hoping for a little emotional manipulation with your popcorn? Look no further.

While the first "Independence Day" was genuinely big, dumb fun, its sequel only manages to be a bigger, dumber bore.

This empty, immature romantic comedy ultimately feels as if it's filled with all the hot air that separates New York and San Francisco, yet still manages to be a suffocating bore.

The acting offers little relief. Fassbender gives a super serious performance in a movie that needed his natural sense of humor. Playing his Abstergo doctor, Cotillard's accent is so bizarre and disconcerting, it's impossible to believe she’s the same actress who’s been so amazing in everything else she's done. As for Jeremy Irons, who plays her scientist father, it's hard to imagine this is anything more than a payday.

Well, you've got to say this for Death Race: It knows what it is and doesn't apologize for it. What it is, incidentally, is junk.

Presumed to be Nicolas Refn's foray into the horror genre, but apparently, no one bothered to tell the filmmaker that.

Director David Hackl’s Life on the Line is supposed to be a moving story about men working electrical lines. Viewers, however, might require a high-voltage shock just to endure it.

No amount of computerized razzle-dazzle can make this insipid sequel worth logging on to. [13 Jan 1996, p.21]

Even in the lazy days of late August, this movie is hardly worth the price of popcorn.

Less the opulent retelling she (Taymor) intended and more like a high-minded midnight movie, filled with Ricky's-style costumes, black swans, sprites that flit across the screen and a cave filled with boiling beakers.

This is not "Lord of the Rings." It's barely "Dungeons & Dragons."

If Marmaduke achieves anything, it's that it makes this past spring's "Furry Vengeance" look like a masterpiece by comparison.

A patronizing, self-satisfied piece of work, Funny Games is Michael Haneke's way of chastising us for blindly following the traditional rules of entertainment.

Quick, what do you call it when a movie takes both of the year’s biggest breakout action stars and wastes them in a bad Kevin Costner movie? Criminal.

Some may wonder why Jennifer Aniston keeps taking projects about single women unlucky in love. But the bigger question in Love Happens is why, with her pick of scripts, she chose one so utterly uninspired.

Luckily the latest episode to arrive, dubbed Fifty Shades Freed, is also the last. And good thing, too, because by now we’ve definitely gone 100 shades too far.

This pseudo-punkster hybrid of "Heathers" and "Thelma & Louise" loses its way almost immediately, veering from wannabe-shocking social indictment to stultifyingly obvious yawner.

Jazz is a good metaphor for Robert Altman's movies they're often improvisational, free-form and full of unexpected dissonance. Unfortunately, his movies also fall prey to the hazards of jazz they can be boring, screechy and endless. Thus, Kansas City. [16 Aug 1996, p.49]

Brothers tries to delve into how war can tear families apart, but only succeeds in showing how miscasting and melodrama obscure good intentions.

This Simone film hits all the wrong notes early. What is it trying to say about this enraged, iconic singer? Why does it want to say it? Since screenwriter Cynthia Mort apparently never asked those questions, director Cynthia Mort can't offer any answers.

It takes its sweet time to achieve anything beyond being a grueling snoozefest.

Unfortunately, overkill is the order of the day — and it takes a toll. There are too many supporting characters, too much exposition, too many gadgets, too many “Matrix”-inspired, slow-motion fight sequences, too many plot holes instead of twists and too ham-handed a political message about the war on drugs.

Such a lazy action-drama underachiever, it seems unfair to target stars Jamie Foxx and Gerard Butler for bringing their C game.

Almost Christmas is frustrating in its failure to not surpass what's expected of it. It's shallow in its emotions and misses opportunities to develop more realistic characters with more relatable feelings.

Robert De Niro is back doing standup in The Comedian, and it's a movie made to be heckled. Full of gross jokes (and an even grosser love story), it deserves the hook — and fast.

Turner's guileless amateurism stands in refreshing contrast to the rest of the performances -- stilted, self-conscious and sleep-inducing -- that fill this tedious 3-1/2-hour marathon, the Civil War in real time.