Shallow and blatantly manipulative variation on "Awakenings" in which every plot development is telegraphed.

Uninspired in style, and Joan Allen's narration is dry.

Heavy on quirk and light on wit, first-time director Gillian Greene’s comedy leans too heavily on the badly wigged Kranz.

Safe House may strike you as a brilliant movie, provided you've seen fewer than, say, 10 spy thrillers.

Overlong, overblown and utterly forgettable.

Despite reams of maudlin narration, McKidd's powerful performance as a conflicted man makes this beautifully shot low-budget feature worth checking out.

The birth of the titular infant — what the whole movie’s leading up to — is just an anticlimactic mess.

Makes its biggest misstep in failing to persuade the viewer the five family members are charming eccentrics rather than irritating weirdos.

It must have sounded great on paper.

Rogers gives a brave performance, but there isn't much chemistry between Bridges and Basinger, who were teamed to better effect in 1987's "Nadine."

“GBH” is a featherweight screwball comedy that, trying mightily to be cosmopolitan, feels awfully provincial, desperately touristy.

There’s a good cinephile heart beating under this fluffy story. But Lellouche, in making her homage to Allen, left out one of his essential qualities: bite. Paris-Manhattan drifts by and never leaves a single toothmark.

Like "Sex and the City 2," Marmaduke features well-coifed bitches in heat, nonstop puns and its very own Mr. Big. Unlike "SATC 2," this one is harmless and, on occasion, mildly witty.

While it's not a disaster like Kasdan's last film, "Dreamcatcher'' (2003), Darling Companion doesn't amount to much more than a fairly painless way for the AARP set to spend an hour and a half watching a movie with stars their own age.

Lazily bopping around to exotic locales in France, Turkey and Qatar, it’s a generic collage of mega-yachts, luxe hotels, fancy parties, disguised identities and tame fights that add up to a big nothing.

On the whole, the film would probably be more at home on cable and at a reduced running time. I’d like to see a competition series of the same name, in which rival engineers compete to see who can endure having the hard-driving Cameron for a boss.

Panders to its audience by glorifying drug dealing and violence in all-too-depressingly familiar ways.

Sweeping, if exhausting, historical epic set at the turn of the 20th century.

Day’s performance is a beacon surrounded by mediocrity and mismanagement.

The static, claustrophobic movie is very much a filmed play.

What could have been a biting dark comedy is, instead, uninspired and generic. The contrived, everybody's-happy finale just makes things worse.

I know this is a teen-boy fantasy — it was produced by Michael Bay, after all — but the female characters in Project Almanac are lamely retro, little more than props in short shorts.

With cheesy-looking effects including a ride on the backs of giant bees and dubious literary references, Journey 2: The Mysterious Island comes dangerously close to giving books, never mind 3-D, a bad name.

While “300" maestro Snyder puts together some very striking scenes — which may be enough for many fanboys — they never really cohere into a whole. He literally throws in the kitchen sink in a film that frantically introduces characters and concepts while never clearly establishing the rules of the DC Comics universe.

The director of all this airiness comes as a surprise — Thea Sharrock, the British theater artist known for her Broadway production of the play “Equus,” in which a naked Daniel Radcliffe stabbed the eyes out of a stable full of horses. “Ivan” is about as far from that as you can get.

A cold, emptily stylish exercise -- and one that sorely lacks the speed and vigor that made "Lola" run.

Disappointing and surprisingly crude.

If I were a member of Generation X, I would be fed up with Hollywood's obsession with the idea that its men are genetically incapable of growing up.