Filmmaker Alison Murray drew on her own experiences, but Mouth to Mouth would have benefited from more focus and fewer dance sequences.

I cracked up here and there watching this broad heist comedy, but it wasn’t laughter I felt great about. Director Jared Hess (“Napoleon Dynamite”) has always gone for geeks and oddballs, but this film mostly punches down at characters for being poor, unfashionable and stupid.

The movie doesn't really begin or end. Whether the lights have just gone down or the credits have begun to roll, things are pretty much the same for Henry.

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.

Feels like a Greek version of "My Own Private Idaho."

At heart a cliché-strewn melodrama about a bunch of white, upper-class Manhattan kids who aspire to ghetto culture.

May not set back Danish-American relations, but it's amusing to imagine how this schlock would have turned out under Denmark's most famous director, the American-hating Lars von Trier.

Where Quentin Tarantino's "Kill Bill: Vol. 2" radiates freshness and vigor, Man on Fire feels vaguely like something left over from the 1980s, when action heroes were one-note tough guys methodically picking off baddies.

The first “Sonic” worked unexpectedly well because it thrust the wisecracking alien into a small town filled with humans — a hog out of water — and gave Carrey the opportunity to once again do the physical comedy he’s best known for. Now the novelty has worn off, the charms of the original have evaporated and there’s nowhere for the series to go.

A wickedly sexy Daryl Hannah is particularly memorable as the Pilager family's black sheep Maddy.

Though Lohan doesn't embarrass herself in a film in which she appears in virtually every frame, this tepid tribute to girl power hardly represents a step forward from Lohan's breakthrough roles in "Mean Girls" and the remake of Disney's "Freaky Friday.

There is also something a bit off about CGI that makes these behemoths appear less sturdy and imposing. Oddly enough, the most gravitas comes from Hall’s all-business scientist.

The movie, told from the killer’s point of view, is genuinely unsettling and propelled by a terrific, buzzing synth soundtrack straight out of the early ’80s. But the only suspense is in which woman will be the next victim.

A gut-wrenching look at the human cost of war.

A fine cast headed by the underrated Greg Kinnear lifts this year’s third major religious movie, the fact-inspired Heaven Is for Real, somewhat beyond its Hallmark Channel-caliber script and visuals.

The Giver is at its best when Bridges expounds on civilization’s lost beauty and savagery; at other times, it’s strewn with implausibility: For a totalitarian society in which everyone is monitored constantly, our hero is able to sneak around an awful lot.

A plot? Tony Jaa don't need no stinking plot.

Plotwise, the movie can (like many a Brooklynite) barely be bothered to comb its hair. Just when the pace needs to pick up, everyone sits around discussing fruity drinks.

The plot goes nowhere glacially. Underdeveloped side characters are so far to the side, they’re out of frame.

Running and screaming may be essential to a lot of horror movies, but as Blair Witch shows, they’re not scary in themselves. For that, you need the stuff between the running and screaming.

Strictly summer schlock.

A serviceable animated movie about a soft-hearted Dracula.

Shankman's staging of the numbers - especially the leaden choreography and hackneyed locations such as the Hollywood sign - was far sloppier and less creative than for his last musical, the vastly superior "Hairspray."

Atmospheric and moves briskly, but it's basically TV writ large.

Unfortunately, the vehicle chosen for the corn-rowed cutie's Hollywood coming-out party is pretty lame.

There are some decent jokes along the way. And none of the performances is bad. But they are limited by the script, which allows each character only one comic note.

There's little action in this snail-paced bore, you'll need a high-powered magnifying glass to spot the comedy and the "buddies" have about as much chemistry as a pair of wet socks.

Every good joke in the movie is to be found in those trailers.