The cinematography and sets look great, but the script is a bummer. It's overlong, overwrought and overblown.

A forgettable — and occasionally borderline offensive — animated tale of turkeys trying to take back Thanksgiving.

I only laughed once, and it was when Whit Stillman made a cameo to be snubbed by the newly self-actualized Imogene. But it was mostly in disbelief; pretentious or not, Stillman represents a caliber of smart writing that’s wholly absent from Girl Most Likely.

Things rapidly go downhill in this pinch-penny production.

Could have been written by a computer programmed to cannibalize previous sci-fi films.

A lark for anyone who's willing to check their brains at the concession stand for 100 minutes.

The good news about I Don't Know How She Does It is that it's so bad that it's another ovary-punch to the formula chick flick. Bring on more films like "Bridesmaids."

Danny Huston looks and sounds like his celebrated father, John, more and more each year, so I enjoyed watching him play a flamboyant and womanizing legendary director not unlike his old man in Bernard Rose’s modest little comedy.

Two decades after his last film, the legendary Jerry Lewis performs a truly unfortunate encore playing an elderly widower in writer-director Daniel Noah’s morose and thoroughly unconvincing drama.

And So It Goes appears to be targeting an audience segment that rarely goes out to the movies — while providing them a cringe-worthy incentive to never do so again.

Nestled inside that warm setup is cloying dialogue, condescending voice work and confusing story tangents.

A film that parents can confidently and with pleasure take their little ones to see - but which is not quite a good movie.

Given the complete lack of chemistry between Chan and Forlani, their rather awkward lip-lock isn't worth $10 to see. Sadly, neither is anything else here.

Heartlessly efficient kidnap thriller.

So off-the-wall that it may well ultimately acquire the cult status of Resnick's earlier Chris Elliot vehicle, "Cabin Boy."

Harmless, if slightly hyperactive, fun.

Occasionally works and has a handful of great moments.

Lame family filler.

Director Gabe Torres lobs a twist you'll likely see coming, and another you may not - neither satisfying enough to justify an hour and a half of Dorff-in-a-box.

Paul Haggis’ Third Person has nothing to say and spends 2 ¹/₂ hours not saying it. Its combination of pretentiousness, vanity and vapidity suggests Alain Resnais directing a triple episode of “Guiding Light.”

What elevates Men, Women & Children considerably above a dramatized (and occasionally over-dramatized) lecture on the dehumanizing aspects of the Internet is the consistently high caliber of acting (including, yes, Sandler) and spot-on narration by Emma Thompson.

If you can stomach the lavish gore, The Beyond also treats you to a three-ring circus of atrocious acting, loopy dialogue, a cheesy wah-wah guitar and synthesizer score and endless jump-out-at-you shocks. [12 Jun 1998, p.053]

Here comes Wayne Kramer's Crossing Over, a bid to create the "Crash" of illegal-immigration dramas.

There’s a fatally miscast lead (Jack Huston, you are no Charlton Heston), cut-rate special effects, reams of eyeball-glazing dialogue, and a schmaltzy “inspirational” script that pointlessly alters the story in ways that make absolutely no sense.

Nobody is good in this thing. You’d think it would be nostalgic to see Dern, Neill and Jeff Goldblum together again, but they all act like old fogies, and they’re written to sound like morons.

Essentially a downscale TV movie about spousal and child abuse.

Its intriguing subject matter is diluted by too many bland performances.

Even with a title this generic, there’s less to Murder Mystery than meets the eye.