The hippie heroine of this wacky Aussie comedy cheerfully theorizes that Australia was actually originally settled not by convicts but by mental patients — which may possibly explain the antics of Russell Crowe and Nicole Kidman, among others.

It'll mainly appeal to film-biz insiders.

But even that talent (Freeman) isn't enough to distract you from the general predictability of Spider or the absurdity of its elaborate last-minute plot twists.

Seems to go on for several days and nights, though in fact it lasts just 105 minutes. I checked my watch. A lot.

I didn't know whether to be more offended as a moviegoer or as an American, but I do know I'd rather gargle nitroglycerine than watch this again, though given that the film looks like it were buried under a log cabin for a century, I barely saw it the first time.

The film mangles its twist and fails to deliver an interesting coup de grace or a sharp line of dialogue.

A warning: One scene in the middle is almost outrageously cruel and graphic. If you're the type of person who has to be reminded, "It's only a movie," stay away. This is the most depraved and dreadful piece of screen horror since last year's "Funny Games."

The first conservative documentary to join the bumper crop of liberal political films riding Michael Moore's coattails into theaters.

Next, which makes "National Treasure" look like a model of narrative logic, is almost beyond criticism.

A chainsaw-cut above recent entries in the genre: a pure, unapologetic, unironic homage to the likes of "Friday the 13th" that respectfully salutes all the old shtick.

A tediously unfunny comedy.

Bel Ami is handsome enough, although the directorial skill runs mostly to careful framing of magnificent bosoms, Pattinson's included.

Quite a slog, with most of the acting strictly amateurish save the veteran Ed Lauter as a fish and game inspector.

A twist ending does nothing to make the previous 85 minutes interesting.

Fans of the cartoon should stick around for Lewis’ after-credits sequence, which introduces a dastardly rival band. It’s the movie’s best scene, setting up a sequel we’ll never see.

A crude, manic and embarrassingly unfunny satire that feels off from beginning to end.

Second films in trilogies are often the toughest to pull off. Maybe Green’s final chapter, Halloween Ends, will redeem what he’s done here, which ultimately feels like very little progress at all.

If you want to punish your kids, send them to bed without dinner. If you want to disturb, frighten and depress them while making sure they fail biology, take them to the animated feature Barnyard.

Just because two people are miserable doesn’t mean they’re interesting.

This lame teenage James Bond will leave audiences neither shaken nor stirred.

A surprisingly tone-deaf combination of two wildly different stories that simply don’t work in concert.

Director Tom Harper (“War Book”) defaults too often to gotcha scares, which is disappointing.

Unfortunately, “Arthur” is rarely at its best, bogged down in countless CGI sequences of battlefields or monsters.

The result is an intermittently instructive and amusing jumble that might have been seen as daring and "transgressive" in both form and content if it had been released, say, three decades ago.

Fitfully funny at best, it's a sophomoric, facetious road comedy.

I wouldn't have thought it was possible to make a prison picture as utterly boring as Jailbait.

Last week I thought watching women take their clothes off was sexy. This week I saw A Wink and a Smile.

Splinterheads might suffice some late night on cable, but that's about it.