Formulaic but surprisingly charming.

An almost chuckle-free mess, so amateurish and lame that the cast often has that embarrassed look you see on dogs given ridiculous haircuts.

The material in this spy spoof is, pardon the pun, awfully frayed.

Hard-core chick shlock, weakened by odd shifts in tone and a slack pace, but elevated by a luminous performance by Natalie Portman.

Even by the modest standards of the genre, the ending is jaw-droppingly ridiculous.

Zookeeper barely avoids a zero-star rating because of James.

A messy -- but uproarious, timely and provocative -- farce.

The only truly lethal weapons in the criminally unfunny action comedy Let’s Be Cops are the lame script, putrid direction and pair of sitcom stars mugging nonstop in frantic pursuit of laughs that have fled over the state line.

The entire movie seems to have about the same budget as a 30-second sneaker commercial. I'm not talking Nike, either. I'm talking a commercial for Steve's Second-Hand Sneaker World and Falafel Emporium that you'd see on NY1 News at 3:08 a.m.

Director Bolton could easily have exploited the film's unsettling issues, but he takes a nonsensationalized approach that leaves viewers to decide the moral questions for themselves.

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

An impressive supporting cast can't save this painfully unfunny, ham-fisted mockumentary poking fun at reality TV shows.

Rookie director Sean Kirkpatrick keeps stomping on the drama pedal while blowing the cliché horn, yielding scene after tired scene of predictable developments as the principals keep shoving guns into mouths and screaming obscenities.

A soggy cannoli of a domestic dramedy.

A likable trio of actors struggles valiantly but ultimately fails to keep this dopey buddy comedy afloat.

Excruciatingly maudlin.

When you awake, it may all seem like a bad dream - but why is your wallet missing $11? Scary.

Epic waste of celluloid.

I haven't laughed harder at anything this year, but I would have a hard time recommending this gender-bending gut-buster to anyone who doesn't have a high threshold for crude sexual humor and stereotypes.

A refreshingly unpretentious little thriller.

While the original was an art-house success, this English-language redo, now getting a one-week run after sitting on the shelf for a year and a half, doesn't measure up.

Rates an "E" for effort -- and a "B" for boring.

There are times when the urban dialect is so thick, you wish the film came with subtitles.

One of those Deep Dark Secret movies, the dull indie Lake City combines a wholly uninteresting family mystery with a wholly unconvincing crime drama.

In Vehicle 19, Paul Walker is back behind the wheel again, but this time it’s a rented minivan and the plot is brainless even for a Paul Walker movie. Get ready for “The Slow and the Spurious.”

Excruciatingly unfunny.

It reeks of contempt for the audience. This is not just a "B-movie" -- it's a B-movie that fails to entertain on any level.

Aside from an additional 30 minutes or so of plot, Trade of Innocents offers no more than a middling episode of "Law & Order: Special Victims Unit."