Sordid Thelma & Louise-ish spree, which also has certain affinities with Breathless but would be better termed Affectless.

Identity Thief is funny enough, but it needed to be darker, raunchier, and crazier to live up to the promise of its casting.

Freed from the shackles of elaborate world-building or jokey, family-friendly tentpole-dom, this is a tight, brisk little over-the-top thriller, with plenty of atmosphere, effective jump scares, and a couple of genuinely moving performances at its heart.

It would take a filmmaker of truly astonishing versatility to harmonize all these disparate tones...But there are moments in Dreamcatcher when Kasdan gives you the giggles and the creeps at the same time, and that’s not easy to do.

The film is filled with actors you want to see -- just not in this thing.

A sad, bad, parade of uninspired cameos and listless violence.

Somewhere inside The Last Exorcism Part II is a very good thriller — a genuinely unnerving movie about possession — struggling to get out. But then the sound drops out, the music shrieks, a figure jumps out, and we’re back to the same old, same old.

Kraven the Hunter explores the inner workings of a guy we didn’t care about to begin with, alongside underwhelming action sequences and a lot of scenery chewing.

The first Scream skewered Hollywood cynicism. The latest embodies it.

Dimly lit and slackly made.

At the end of Sphere, the three principals -- Dustin Hoffman, Samuel L. Jackson, and Sharon Stone -- agree, for the good of humanity, to forget everything that has happened to them in the movie up to that point. This is a pact I can only rush to join, and with exactly the same motive.

The Scargiver plays like a screensaver. Its shots are littered with lens flares and aesthetically pleasing smoke, with the contrast of golden light and planted fields alongside spacecraft and gas giants on the horizon. It would be just as evocative as a carousel of stills on an unused monitor, or maybe more so, given that the stills wouldn’t be accompanied by ponderous dialogue.

By the time the film works up to its finale, what secrets it wants to reveal to us have become fairly obvious. But they still carry a dark charge; Diablo’s ultimate grisliness is impressive in its own way. And it might have worked, had the film not asked entirely too much of its young lead.

A mostly disposable, occasionally quite funny bromance distinguished at times by its earnestness.

Hannibal Rising is basically a Steven Seagal vigilante movie with a hero who eats the people he kills. At least it's ecofriendly.

Eventually, you start to wonder if the movie forgot to take its own pills: What starts out as an interesting exploration of identity soon gives way to the uninspired, generic action flick we had feared it always was.

Kidman is stuck in this pomo movie about the making of a TV-show remake. It’s "Being John Malkovich for Morons."

Harold and the Purple Crayon makes the classic Hollywood mistake of taking a story that was lovely because of its concision and simplicity and turns it into a movie that is overly long and complicated for no good reason.

The concept promises us a melancholy kind of dread, and there are bits and pieces throughout of the movie The Forest could have been. But any compelling sense of unease is ultimately undone as the film gradually settles for tedious schlock.

A high-toned revenge-of-nature horror picture, it's a little depressed, with only gross-out shocks (gushing jugulars, bodies run over by lawnmowers) to relieve the torpor.

I found myself often enraptured by this sad little story. Its weird narrative of faith healing serves as an intriguing diversion from the real matter at hand — the notion that grace lies in the search for help, rather than the finding of it.

As a mascot, McConaughey embodies the movie’s lack of conviction, but as an indication that a star could conceivably be computer-generated with no loss of affect or facial mobility, he might inspire the next generation of bloodless fantasy epics.

Watching The Last Witch Hunter is like sitting by while someone else plays a game whose coolness eludes us.

The amiably bland family comedy The War With Grandpa genuinely surprises with how un-special it is. It’s the kind of film that seems to vanish from the mind even as you’re watching it.

John Herzfeld, the writer-director, attacks America's lust for voyeuristic sensationalism by aping the very tactics he decries.

The real problem is that Get Hard’s very idea of edge is itself pretty stale. It feels like a bunch of off-color jokes the filmmakers have been trying to tell for years, and they’ve crammed them all into one film — with tiresome results.

You really have to screw it up to dishonor the memory of a movie as shitty as the original "Friday the 13th." Heads should roll.

Spirit of Vengeance is so focused and, as a result, so impoverished that you actually feel bad for Cage. The actor tries to bring the weird (though at this point one wonders if he can even do anything else) but the film more often than not leaves him high and dry, saddling him with standard-issue action hero lines and boilerplate action set-pieces.