This rousingly sweet little flick is certainly nothing to go out of your way to avoid.

OK premise quickly deteriorates into a silly, badly acted slasher movie -- minus the slasher.

Playing like a script that’s been moldering since Diane Keaton turned it down in 1983, The Other Woman is a weak adultery rom-com in which the most authentic performance comes from a non-housebroken Great Dane.

The agent in this interesting little thriller — well played by John Cusack — is up to the Company’s usual dirty tricks.

A runaway bore.

Infuriating grab-bag of a movie.

Boasts exceptionally attractive locations, but its painfully amateurish plotting, dialogue and acting -- combined with slack pacing -- make this Beijing-set indie romance something of a trial.

There is probably an amusing movie to be made about camps that try to "rehabilitate" homosexuals - but this thuddingly stupid satire isn't it.

Whaley gives an earnest performance, especially when he's articulating his frustrations during his monologues. But it's all relentlessly glum. The film, like Jimmy's routines, could use a few good laughs.

It's full of Plympton's trademark twisted humor, with lots of sex thrown in.

Cinema vanité.

It's smart, funny, agreeably perverse and simultaneously abrupt and exhausting.

This pastiche of sitcomy episodes never gels into a plot.

In the pantheon of James L. Brooks films, “Ella McCay” is far from as good as it gets.

This kids' cartoon from France is such a surreally demented attempt to connect with children that it's the equivalent of foie gras breakfast cereal or a bleu cheese milkshake.

A protracted piece of schmaltz, P.S. I Love You looks like a hand-me-down from Sandra Bullock and Drew Barrymore.

It’s a little less cute these days to watch his Jack Sparrow swish about drunkenly, knowing the actor’s an abusive lush. Equally wearisome is the spectacle of a once-entertaining franchise staggering around, devoid of purpose.

Lumpy, preachy and soporific.

The Queen biopic “Bohemian Rhapsody” had plenty of issues, but the electricity of the re-creation of the Live Aid concert was not one of them. While “Michael” shares the same producer as the Freddie Mercury flick — and a nearly identical performance from Mike Myers as a jokey music exec — it boasts none of the nostalgic thrills.

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.

It strains belief that nuclear weapons couldn't kill off the dragons, but three people with crossbows could.

Which is scarier: a maniac in an orange ski mask wielding a hunting knife - or Jon Bon Jovi as a journalism teacher? Cry_Wolf gives us both, and though Bon Jovi is livin' on a prayer if he thinks he's an actor, the movie is a find.

Stage Fright starts out as a funny musical mashup — “Glee” meets“Friday the 13th” — but winds up indulging slasher-flick clichés instead of spoofing them.

Yet the moral at the end is that we should all be more tolerant of different cultures. Is that really true, though, if the culture you're trying to tolerate is trying to open your skull with a circular saw?

As usual, Hartnett exhibits the acting ability of linoleum; his performance would not be measurably changed if he lapsed into a coma halfway through. Only an amusing cameo by David Bowie enlivens things, but he's onscreen for just about two minutes at the end.

Often less really is more, and that’s why I can recommend Planes, a charmingly modest low-budget spin-off from Pixar’s “Cars’’ that provides more thrills and laughs for young children and their parents than many of its more elaborate brethren.

The two young actors are very engaging, but the chemistry between Pearce and Bonham Carter is less than zero and there's altogether too much heavy-handed, watery symbolism for comfort.

I'm beginning to think writer Nicholas Sparks isn't one person at all, but a roomful of ladies doing Harlequin-romance Mad Libs. Occasionally they'll hit a winning combination, as in the Sparks novel "The Notebook." More often, you get eye-rollers like "The Lucky One."