The movie is a gentle British ensemble comedy much like "Four Weddings and a Funeral" - minus the four weddings and four-fifths of the wit.

In the dud thriller The Tourist, Jolie basically plays an overdressed, humorless live-action version of Jessica Rabbit, running around Venice dodging hired killers.

Offers a few laughs - and little sexual heat.

Could hardly be more predictable.

It may be a second-rate “Lord of the Rings,” but at least it doesn’t overstay its welcome.

Whedon keeps approaching ideas, but every time he does so he leaves a flaming bag of dog poop on the doorstep, rings the bell and runs away tittering.

If the filmmakers had spent $14.98 of that $100 mil on a DVD of "The Mummy," they might have learned a few things: You need a head villain who is surpassingly evil, you need some jokes that get laughs - and a few sword-fighting skeletons wouldn't hurt.

Maybe nothing here is supposed to be as scary as in the 1973 movie because this is merely the opening act. That's the problem with prequels, isn't it? It's like being asked to pay full price just to watch batting practice.

Engaging in a soap operatic, rather glib way.

Modestly entertaining.

Yearning for an exciting African adventure? Oka! isn't it.

Shepard, who directed "The Matador" and the pilot for "Ugly Betty," can't quite get the disparate elements of The Hunting Party to mesh into a satisfying whole.

A hit-and-miss affair.

Steve Coogan’s Alan Partridge character — a craven, narcissistic, provincial TV and radio host who has been amusing the Brits for more than 20 years — proves too much of a sketch-comedy creation to sustain a film.

Feels both deeply rote and way overpacked with characters.

When it comes to magnetism, the Rolling Stones have nothing on Amma, the Indian mahatma ("spiritual guide") chronicled in Jan Kounen's handsomely photographed but one-sided documentary.

You never believe Buck is the genuine article, so moments of danger and even cute mannerisms don’t land. Even the best-trained contestant at Westminster has some unpredictability.

A cartoonish 1940s shoot-'em-up that's impossible to take seriously.

Pity the boxing movie that thinks it can be both "Raging Bull" and "Rocky."

You do have to give Starbuck credit for engineering perhaps the largest group hug ever put on film.

With Fading Gigolo, writer-director-star John Turturro does a passable imitation of a mediocre Woody Allen sex comedy, and guess who tags along for this would-be romp?

If it weren't for a terrific central performance by the Icelandic pop singer Bjork, Dancer in the Dark would be all but unwatchable.

Thanks to a winning cast, all of this is funnier than you would expect considering the erratic script.

For all his skill with a cue, the charisma-challenged Callahan is no Nia Vardalos in the acting department -- let alone a Paul Newman or Tom Cruise.

Crude and cheerfully sophomoric teen sex comedy.

Seventh-graders are far cooler and more anarchic than depicted in this often-dopey movie, which is aimed at more of a fourth-grade sensibility.

As a full-length feature, Casa is simply a funny concept that starts to go stale around the 10-minute mark.

Kidman gives an other stunning performance in Birth, but it is a riddle wrapped in a mystery inside an enigma that ultimately reveals . . . not much.

A campy, low-budget Romero homage that's badly in need of editing.

An earnest, if dreary little Canadian domestic drama.

The dialogue is dubbed into English by generic actors, whose phony, emotionless rendition undermines what's on the screen.

The film repeatedly disappoints because Sandler and his director...have so little faith in focusing on the two characters' plight that they interrupts the romance repeatedly for vulgar, Farrelly brothers-style sexual and ethnic jokes that are so relentlessly unfunny they may not even rouse Sandler's core constituency of 12-year-old males.

All movies require suspension of disbelief to a certain degree, but p.s. really pushes the envelope.

After a wickedly promising start, this pointed political satire quickly deteriorates into a fairly routine, if sporadically quite effective, home-invasion thriller.

“Gatsby” meets “Gossip Girl” in this outsider-among-the-wealthy story set, like Fitzgerald’s novel, on Long Island.

Thrillers can be a valid Hollywood escape, but this one made me as uncomfortable as its hero is with small talk.

The sort of heart-tugger a small group of people will love passionately.

The legend of Thompson is immortal, though, and it'll fall to each generation to jam him into its own mold. Depp and Robinson's view is that Thompson was like a mullet: a party in the back but all business upfront.

A likable cast and interior-­décor porn worthy of Martha Stewart Living are the highlights of The Best Man Holiday, but the mix of raunchy sex comedy and Christian faith doesn’t quite come off.

Aims straight for the tear ducts as well, but this weepie is a dry well.

It also gives another black eye to Iranian fundamentalists. It is most unfortunate, then, that the film isn't better.

A sometimes eye-opening, if overlong, German-Swiss documentary on a holistic health system that's been practiced, mostly in India, for more than 500 years.

Has its moments, but overall it's depressing.

The unusually explicit dungeon scenes with Pablo, a leather daddy and a fellow slave may whip a rather specialized audience into a frenzy. But for others, A Year Without Love will be a less pleasurably painful experience.

Unremarkable and none-too-scary horror movie.

Some movies present their whole story in a two-minute trailer, but Gridiron Gang says it all in its poster.

Little is made of the cultural fusion aspect of their story, and ultimately the struggle-for-success tale is as homogenized as the music.

The opening and closing scenes are scary and should please fans of the genre, especially at Halloween time.

The script doesn't offer anything especially new, but Burman infuses the film with innovative lensing and capable acting.

Although the golden-hued cinematography (a filming cliché that really needs to be retired) and the sometimes slack direction by Marc Evans are minuses, Hunky Dory does deliver in the musical department.

Funny more often than not. Worth checking out on video.

Overall, everyone’s working far too hard at hitting their marks in this march toward a conclusion that’s both predictable and laughable.

Light, doggedly formulaic romantic comedy that's almost instantly forgettable despite the sunny presence of teen queen Mandy Moore.

A female revenge movie. But you could just as easily characterize it as fairly well-executed exploitation.

A lame comic tribute to the dwindling band of "Star Wars" aficionados, is one of those be nighted projects whose back story turns out to be significantly more compelling than the movie itself.

Screenwriter Tom Schulman, who won an Oscar for "Dead Poets Society," gives us a narrative reminiscent of a pup chasing its tail, as characters struggle to catch up with inexplicably chopping and changing motives.

Those confessionals can and should deliver an emotional wallop; however, Sara Colangelo’s direction isn’t skillful or nuanced enough to give the scenes power. The speeches from actors, such as Laura Benanti, about the worst day in all of these people’s lives feel too rehearsed and polished for us to believe them.

Basically "Jumanji" in outer space -- and even without Robin Williams, this is still a singularly loud, charmless and overbearing family movie that could use a hit or two of Ritalin.

There are a few interesting moments, but basically Up at the Villa is dangerously short of sympathetic characters.

Seem to have spliced together two different concepts which, on paper, may have seemed complementary but wind up giving the film a schizophrenic feel.

Basinger appears to be literally phoning in from another movie in the highly improbable, maniacally action-packed thriller-cum-comedy Cellular.

Sorry to Raid on your parade, “Ant-Man” fans, but the third chapter is a pile of dirt.

Basically a Lifetime movie that somehow found its way into theaters.

Good grief! This painfully sincere animated feature seems aimed less at contemporary kids than nostalgic adults who might buy toys marketed for what is being billed as the 50th anniversary of the Peanuts gang for their children and grandchildren.

Hard-core Hitchcock fans will not find much in the way of revelations.

Gould’s lugubrious presence is always welcome, and Rue plays her lovelorn part with verve.

Despite risible dialogue, Mercy is watchable because of Caan's physical presence -- and a couple of scenes with his real-life father, James Caan, as his cynical dad who pronounces that "love -- it does not exist."

Offers plenty of fun, nostalgic footage of 1950s pro lady wrestlers kicking butt.

Despite a terrific cast and a sexy noir look to rival the two “Blade Runner” films, Jones (son of David Bowie) delivers a bit of a letdown.

It's a wretchedly dumb, lazy and incoherent movie that's magically rendered watchable by Eddie Murphy's charm and Robert De Niro's presence.

This new low-octane version is hardly going to make anyone forget Robert Aldrich's semi-classic, testosterone-laden original starring Jimmy Stewart.

Tepid tale of star-crossed lovers in 1910 Wales.

Very sentimental.

While often diverting and physically impressive in an old-fashioned way, Hidalgo suffers from weird shifts in tone, offensively outdated stereotypes, a cumbersome subplot - and a supposedly fact-based story that bears only a nodding acquaintance with reality.

Thornton lends gravity, focus and humor that are otherwise in short supply in this serious-minded but meandering, talky and action-deficient epic.

Strident, unrepentantly one-sided but often entertaining.

Even for a surreal black comedy, Jesus Henry Christ requires massive suspension of disbelief.

Despite strong performances by Gerard Jugnot as the crime-busting prosecutor and Veronica D'Agostino as the adult Rita, The Sicilian Girl never lives up to its potential.

No worse and no better than the majority of chick flicks.

It is admirably unsparing and gloomily atmospheric. And I looked at my watch a bunch of times.

It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.

Strictly for fans of the musical acts and those who think everything Chappelle does is genius.

Few of the increasingly far-fetched events that first-time writer-director Neil Burger follows up with are terribly convincing, which is a pity, considering Barry's terrific performance.

The second half is therefore much more interesting than the first; even so, the whole movie suffers from a lack of narrative momentum and a surfeit of wordless shots of men exchanging deep, meaningful glances.

Osment, playing a fatherless 14-year-old, has entered the sort of awkward adolescence that afflicts so many male child stars - and seems utterly intimidated by his esteemed co-stars.

Even the great Helen Mirren can do only so much to elevate this relentlessly mediocre, fact-inspired drama.

De Niro gives a technically brilliant performance as Walt, struggling with a body that will no longer obey him.

The core problem facing the rather annoying new movie “The Fall Guy” — starring Ryan Gosling as a professional daredevil — is that we can’t believe. Never for a second does the viewer buy that goofy Gosling is an in-demand stunt person who sets aside his ego for the betterment of a project.

More a tribute to youth and its discontents than a fresh exploration.

The sleepy horror movie is an onslaught of spooky images that, while well-done, are watered down by sheer abundance. We stop being scared after the first 15 minutes because there is nothing new to see.

Deafeningly loud and proudly silly epic.

Director Peter Chelsom (“Hannah Montana: The Movie”) and screenwriter Allan Loeb (“Collateral Beauty”) squander countless opportunities to make this fish-out-of-water story intellectually curious or even much fun.

A warm-hearted and ambitiously honest look at the pros and cons of monogamy, but it tends to be understated to the point of underwhelming.

Basically a watered-down collage of scenes from "Heathers," "Clueless," "Sixteen Candles" and numerous other teen flicks.

Harmless if not exactly inspired, and rarely hilarious.

A challenging experimental film that will never play in a commercial movie theater and is settling in for a two-week run at the ever-venturesome Film Forum.

Ambitious, guilt-suffused melodrama crippled by poor casting.

Like many movies that premiere at the Sundance Film Festival, The One I Love has plenty of story — for a 30-minute TV episode, in this case of “The Twilight Zone.”