After the monster is subdued, then there's a much less humorous, and more mindlessly violent second half.

A mild cross between "The Big Chill" and "Sex and the City," this English-language German oddity is a romantic comedy passing through on its way to video.

You cease to care as they fall back on a catalogue of clichéd shocks, tired camera angles and an ever-mounting gore quotient.

An inferior factory product, cranked out with little care and less imagination, that seems all the dumber because it's pretending to be smart and topical.

Mind-numbing, would-be comic-book franchise, which often seems as blind as its hero -- not to mention deaf and dumb.

What really wrecks Wolfgang Petersen's Troy is some of the worst casting in recent Hollywood history: The lackluster ensemble hired by the director is overwhelmed by the generally impressive sets and crowd scenes, by the task of playing epic heroes and by David Benioff's rambling, tone-deaf screenplay "inspired by Homer's 'Iliad.'"

Copperhead has a more accurate period look, but dramatically it’s inert.

The film by Yasuhiro Yoshiura suffers from many of the same flaws as other anime features — a plodding pace, broad humor, a bland heroine and snarly, one-dimensional villains.

The landscape cinematography is often eye-pleasing, but the script is labored, filled with clichés and never allows for character development.

In this new, totally unnecessary version of Dr. Seuss’ holiday favorite, the mean one (voiced by Benedict Cumberbatch) isn’t all that scary or cruel.

The Warrior may be mighty of sword but he is exceedingly limp of writing. We never learn why he went bad in the first place, or what causes his sudden conversion. If the audience is expected to do most of the work, we should be paid $10.50 each.

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.

Much less a satisfying movie than an intermittently funny 90-minute acting audition.

Beautiful but boring.

Baywatch is not nearly as good as this genre’s best entries, like 2012’s “21 Jump Street.” It washes up on the beach like a dead whale.

It's hard to make a movie about moonshiners that isn't entertaining, but the lethargic, generically titled Lawless comes perilously close - at least a third of its two hours is devoted to "arty'' shots of landscapes.

Dazzles the eye, numbs the mind and may cause deafness in some cases. Did I mention to bring along some Excedrin?

Tries to be many things -- romantic comedy, mockumentary, a satire on beauty and aging -- but ends up succeeding at none.

The movie hopes to be regarded as childlike too, but there's a difference between kid-friendly and just regular old dumb.

A lazy and uninspired knock-off of the hilarious 2002 movie "Road Trip."

Tristan & Isolde makes sacking and pillaging about as exciting as the line at the post office.

Lackluster anime.

"Rhapsody” has a shallow script, oversize performances and looks like it was shot in a sauna.

The film begins at ugh and ends at dang. You don’t yell at the screen so much as yawn at it. An intriguing plot then turns into a telltale heart that doesn’t pulse.

Macht is the best thing in A Love Song for Bobby Long, but his intelligent performance doesn't justify a tough, and very long, sit.

Fails to elicit any substantive information from his (Tommy Davis) subjects. And he fails to put their plight into perspective.

Lee gives his childhood hero altogether too much face time to defend himself against the numerous allegations and charges of assault, both physical and sexual.

The movie is neither an affecting romance (Coco even considers marrying Balsan because "I'd achieve social status") nor an inspiring success story. Chanel sold herself to one guy, happened to get customers through him, and took a start-up loan from another lover.