This loopy farce has the feel of a wacky off-off-Broadway play with more energy than wit, but it has its moments. And the laid-back acting of Hoffman (son of Dustin) just about holds it together.

It’s a royal chore.

Like the lovely indie "Weekend," this small-scale story focuses on a couple of days in a possibly blossoming romance. Unlike that movie, it's full of gender stereotypes and all-around bad behavior. There's no one here to root for.

There are probably enough moments to satisfy hard-core fans, but for the rest of us, this amounts to the Middle Earth equivalent of “Star Wars: Episode II — Attack of the Clones,’’ a space-holding, empty-headed epic filled with characters and places (digital and otherwise) that are hard to keep straight, much less care about.

Picture "Fargo" played with no sense of comedy, and you'll get some idea of the absurdity of this drunken floozy, clicking and wobbling on high heels, often with bits of her anatomy hanging out, trying to pull off the perfect crime.

This one-joke comedy vehicle is flying through a laugh-free zone.

If it has a genius for anything, it’s disorganization: What promised to be a Super Bowl of villainy turned out more like toddler playtime.

As bland as the Kenny G-style smooth jazz its hero listens to in moments of distress.

A cast almost talented enough to distract you from Ted Griffin's gimmicky screenplay.

Cavanagh, the always-engaging former star of "Ed" (with whom I am friendly), and the adorable Faris (whom I don't know -- but feel free to look me up, Anna!) make the non-animated scenes amusing, as the ranger and the documentarian fall in love and fight to save the park. But the script doesn't give them a lot to do.

If you're wondering why this movie must stretch past two hours, it's because it takes that long to read every item in the cliché dictionary.

Jacques Rivette's film is full of painstaking historical detail, but the behavior of the two nonlovers is mired in inaction and emotionally incomprehensible.

Amateurish in the extreme, the film is a feast of bohemian cliché, bad writing and worse acting.

It's hoary and clunky even by the low standards of contemporary thrillers.

Unpleasant as it is, you can't exactly call Sherman's perspective misogynistic, if only because the protagonist hates himself every bit as much.

It’s Olsen’s emotional frailty that helps pump up a bad movie into a mediocre one.

One part cabaret, one part travelogue, one part comic heist, one part romantic tearjerker -- and all pretty tedious.

What follows is very gruesome indeed, though the footage of people being chased by hideous ghosts soon becomes rather dull.

Can’t somebody come up with a monster that does something more interesting than run at you screaming, “Yeeaaaarrrrgh”?

Strong contender for the weirdest movie released this year.

Situations get increasingly ridiculous, and none of the characters ever seems like anything but a screenwriter's sketch.

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.

Will go down in history as the movie that showed a turtle getting an enema. It also features a hot performance by Marguerite Moreau.

Let’s say you wanted to have another go at “Red Dawn” but you think more like Redford. Voilà: You’d have The East, a cockamamie valentine to eco-terrorism.

Autumn wants to do for Jean-Pierre Melville what "Reservoir Dogs" did for Hong Kong cinema, but this new film is a joyless exercise in film appreciation.

Dennis Rodman isn't half bad as a blond, multiply pierced Interpol agent.

A sluggish meander through the life of the man considered by many to be a deity of golfing.

Like many first films, Boricua's Bond is wildly uneven.