The kind of thriller whose ridiculous climax hinges on a hitherto undisclosed GPS tracking device in a dog's collar - an appropriate touch in a movie that's more than a little flea-ridden itself.

There's too little dog and too much fire house in Firehouse Dog, a mild kid comedy that turns into a flaming arson mystery with some scenes that could be too scary for little ones.

Prasad has a hard time keeping her bulging narrative straight; the twitchy editing, jarring close-ups and bobbing camera only muddle the audience.

Can be summed up by the fact that Ashton Kutcher, making a glorified cameo as a narcissistic model-slash-actor, is the best thing in it.

Fake documentaries annoy me — why not put in the effort and deliver the real thing? — and this one is not only aimless and stiff, it also rings false.

Turn off your frontal lobe, and you just might enjoy it.

It's unfortunate that the people DuBowski profiles tend to be self-indulgent or otherwise unappealing. It's still more unfortunate that the film focuses more on relatively easy issues of acceptance.

The Aggressives has plenty of character but no story; it would have done better to structure itself around a competition it briefly visits in which lesbians, in costume, compete to win prizes for looking masculine. That way the film would have had a direction.

In “Raging Bull” and “The King of Comedy,” Robert De Niro did stand-up comedy badly. In The Comedian he does it badly again — there’s that same air of menace and gracelessness — but this time the movie want us to think he’s brilliant.

The result is like an hour and a half listening to someone bellyache about her landlord.

The real coup de grace for this would-be serious-minded drama is the sledgehammer-subtle direction of Paul Weitz (who is also the screenwriter), who enabled his star's paycheck mugging in the execrable "Little Fockers."

Best watched while doing a crossword or reading the paper.

If you insist on seeing Soul Men, stick around during the closing credits for the best part of the movie, an interview with Mac.

Slick as a pig and reeking of phony sympathy for recession-wracked consumers, The Joneses is a black comedy about stealth marketing made by a filmmaker who's evidently much too close to the subject to bite the hand that feeds him.

Solid performances can't save Melissa Painter's pretentious teen drama Steal Me, which plays like a cross between "Dangerous Skin" (without the gay sex) and "Picnic" (without the production values or credible situations).

A screwball farce that pulls off a pitifully low percentage of its gags, even with a star-crammed cast.

A lot more stupid action - and a lot less heart - than the character-driven original, as Stuart ends up rescuing Margalo from Falcon.

This movie, cynically and patronizingly aimed at Seagal's predominantly "urban" audience, is sad, tedious proof that even violent exploitation isn't what it used to be.

There are more misses than hits among the myriad plot strands that make up the sweaty Spanish sex comedy KM.0.

First-time director Ed Solomon has corralled a stellar cast for his indie drama Levity -- and then put them through paces as plodding as a draft horse's.

Nothing But the Truth is like listening to the fourth-best debater in middle school present a term paper called "Politics, Power and the Media."

Shot through with ’60s London energy, illuminating on several fronts and featuring bits of many great Who tracks, the film is nevertheless a mess that should be taught in film schools to illustrate how not to edit a documentary.

Janet McTeer, Octavia Spencer, Diane Kruger and Jane Fonda brighten the screen momentarily, all in too-small roles.

With thinly drawn characters, uneven performances and tin-eared dialogue, Stonewall plays at best like a musical without the songs.

Sitcomish, stereotypical and sporadically funny romantic comedy.

Mostly an unfunny, rather dull affair.

It's all interspersed with strange attempts at comedy that fail on two levels: They're not funny, and they puncture what little drama there is.

Finish your popcorn early if you’re going to The Green Inferno, and save the bucket to barf in.