Infuriating, but not for the reason filmmakers want it to be.

The movie is as lumpy and misshapen as a giant booger.

The opening credits of Gangster's Paradise note that it was "inspired by real events." It would be more accurate to say that the film was inspired by Brian De Palma's "Scarface" and similar fare.

It must have sounded great on paper.

Here's the thing: Found footage is scary when - because - it leaves you to fill in a lot of the blanks yourself. But actually watching whole families have terrible things done to them - well, hard-core horror fans may dig it, I guess. I'd call it forced voyeurism of the worst sort.

More like Disney's "Sleeping Beauty," somber, slow and elegant instead of frantic and dazzling.

Depp's nonsense-spouting Mad Hatter, decked out in a red fright wig and possibly more makeup than Michael Jackson, is an unlikely resistance leader.

Too often content to smile beatifically instead of delivering the necessary thrills.

Yet despite the efforts of an excellent cast headed by three top comedy names -- Owen Wilson, Steve Martin and Jack Black -- and tons of beautiful scenery (mostly British Columbia and the Canadian Yukon), this movie stubbornly refuses to take flight, or generate more than a few chuckles.

It Ends With Us is, despite its failings and indulgences, a highly emotional and absorbing couple of hours.

Beowulf & Grendel has its moments, as well as its debits. Among the later is the grating Canadian accent of Sarah Polley, who plays a witch named Selma.

The Artist’s Wife can, at times, come off as a collage of other, better movies.

Justin Timberlake shows that he can do more as an actor than just take his shirt off - though he does that a lot as well - in the irresponsible, uncommercial but surprisingly watchable Alpha Dog.

Ronan has a flair for visuals, no doubt about it. And I liked looking at them. The trouble is his slideshow of impressive landscapes and environments evokes nothing deeper and, actually, is a roadblock to character development and story momentum. Scenic detours.

Prisoners of the Ghostland is equal parts visual delight and narrative head-scratcher. Most of all, it’s a hefty dose of Nicolas Cage set to full-tilt gonzo.

Occasionally there is a striking image or a moment of wounded sweetness, but mainly the film provides ample proof that it's possible to be bizarre and boring at the same time.

Basically a feature-length rock video from Germany with appealing performers, decently written characters, a killer score, and an interesting premise.

A too-cute-by-half Irish romantic comedy that's overloaded with movie references that begin with the title.

Interestingly for an Israeli movie, the bombers are not Palestinians -- they're young, ultra-Orthodox fanatics.

Chop Suey is, in the end, as much a tease as Weber's photographs -- not much substance, but rather sweet and with style to burn.

Recycles every cliché of the genre to sleep-inducing effect.

An ugly-looking mismash of a fairytale.

What makes The Blind Side a Thanksgiving treat is director Hancock's subtle touch and admirable refusal to yield to sports movie clichés, something he did previously with "The Rookie" and "Remember the Titans."

It’s basically a narrative spin on Alex Gibney’s 2013 documentary “The Armstrong Lie,” only with less cycling footage. This is a plus for those of us easily bored by such things (so many interchangeable mountain passes and neon jerseys!), but there isn’t a ton of new material here.

You'd think it would be hard to make an uninteresting movie based on the true story of Bethany Hamilton... But the terminally bland Soul Surfer comes perilously close.

Pineda is lovely, but I stopped believin’ in this documentary long before it was over.

By the end of this derivative, heartless mess, you’ll conclude that a garbage dump is exactly where writer-producer James Cameron’s new project belongs.

Overall, it’s engaging and serves its young audience well — a rare Holocaust movie that doesn’t strain to become Oscar bait.