A triumph of misguided moviemaking, starting with a grotesquely miscast Mira Sorvino, who arguably gives the worst performance ever by an Oscar winner.

A stinker.

It's hard to imagine hardened New Yorkers actually paying to see this totally uncritical, gee-whiz celebration of stock car racing, its fans and its history, breathlessly narrated by Kiefer Sutherland and perfunctorily directed by Simon Wincer.

Who’s the audience for this movie? It’s not smart, scary or funny enough for adults and older teens, and it’s inappropriate for young kids.

The gorgeous heartache of songs by the group Belle and Sebastian gives God Help the Girl its dreamy appeal, but thanks to a poky story line it essentially amounts to a series of music videos.

A supernatural “What’s Happening to My Body?” parable in company with “Carrie,” “Ginger Snaps” and last year’s “Thelma,” Wildling is low-key with an undertone of menace, skillfully directed by Fritz Böhm in his feature debut (though some of his nighttime scenes are so dark it’s genuinely hard to tell what’s going on).

Better than any automobile flick put out by Hollywood in a while and, thanks to some genuinely exciting moments, it is easily the most entertaining so far of this summer's big, brainless action movies.

For a sex movie, Norwegian Wood is about as dry as a pocketful of sand. Even for a film set in a land that considers paper folding an exciting activity, this is dull stuff.

Typically, To the Wonder seems mostly locked in the thoughts of its characters, whispered so only we can hear, with no more actual back-and-forth dialogue than would cover the back of your ticket stub.

Billy Dee Williams and Richard Pryor are good, but the real surprise is Ross. She's so magnetic that you can't believe this melodrama didn't lead to a real movie career. [06 Nov 2005, p.76]

What they say is superficial. They never really explain why they risk their lives. In the end, Steep plays like a TV infomercial - and who wants to hand over $11 to watch one?

Danes and Parsons are a weird pairing, who carry their TV personas with them like tote bags. Their “Homeland” and “Big Bang Theory” shticks don’t quite click. Even so, when Danes’ mother comes to realize that her sweet kid is more than just a talking point, she’ll have you wiping away tears.

To enjoy this film, it helps to check your brain at the box office.

This maudlin, fact-inspired and anti-feminist dramedy is no "Far From Heaven" or "The Hours."

It's a clever concept that should play well on TV and the Internet. But as a big-screen movie, Life in a Day -- which lists brothers Tony and Ridley Scott as producers -- elicits a shrug and a question: Who cares?

Even for a movie about complying with USDA regulations, Dolphin Tale 2 is a little lacking in excitement.

There is still enough venom spilled in August: Osage County to make this drama relatable to anyone who’s suffered through a wildly dysfunctional family dinner — and who hasn’t, especially at this time of year?

A very fine follow-up to the most successful horror film ever.

A real crock.

A pretentious left-wing monster movie with about 15 minutes of alarming creatures and a whole lot of bickering, is a pre-9/11 story which Stephen King wrote eons ago. It operates in the post-9/11 era about as well as a Studebaker at the Daytona 500.

This morbid, cruel movie seems leached of all things that might inadvertently give viewers pleasure.

I don’t mind Diesel and Cena starring in movies like this, because it helps keep them out of other, better movies. But to see folks such as Helen Mirren (doing her weird cockney accent again), Russell and Theron’s talents wasted on such schlock is a shame.

Mostly about extending a Hollywood franchise with ever-diminishing returns.

Goldblum's wobbly German accent and the staginess of the script doom this effort by Paul Schrader ("American Gigolo").

Marines did not play football in full anti-chemical suits in 112-degree weather; men would have been collapsing and perhaps dying because it was so hard to breathe in the gas masks. Do I quibble over details? Details are all the movie offers. There isn't a story.

The climax is as dull as reading the dictionary of a language you do not speak.

Occasionally becomes melodramatic.

Footloose won me over early, with a sequence in which the hero gets all heavy metal while restoring his badass ... VW Bug.