Like the artificially sweetened junk food it is, this all goes down pretty easily.

This is less a documentary than a wholly uncritical celebration.

Ranks high on the squirm meter. But, unlike in most of her earlier work, there's no emotional payoff.

No "Schindler's List," to put it mildly.

You Again could be taught at film schools as an example of how not to make a movie. And how not to humiliate veteran actors.

Androgynous Clea DuVall's performance shines through a foggily told, vaguely acted coming-of-age tale.

Penn makes us take the leap required by Kristine Johnson and Jessie Nelson's screenplay -- you end up deeply caring about Sam and Lucy.

What a bloody disappointment Stigmata is!

The script is obvious and cliched and the action is more disgusting than frightening.

It’s all as pointless as the asthma inhaler with which one character treats his advanced lung cancer.

Can’t somebody come up with a monster that does something more interesting than run at you screaming, “Yeeaaaarrrrgh”?

It’s clear why this indie was shelved for so long: It’s a mess.

Extremely cool-looking in the manner of "Sin City,'' but clumsily staged, slackly acted and mind-numbingly dull, Israeli director Guy Moshe's English-language fantasy is set in a future when guns, and apparently coherent conversations, have been outlawed.

Actually, Bruce, what stinks is the script — which is woefully lacking the kind of one-liners and memorable bad guys that helped make working-class hero McClane so iconic he’s still around after 25 years. Even the action sequences are pretty much by the numbers this time.

Even an appearance by Alec Baldwin as Moretz's eventual - if highly unlikely - savior isn't enough to keep Hick from leaving a bad taste.

A big, incoherent bore, interesting only as an example of assembly-line movie-making gone awry.

Love and Honor may be politically clueless, but Hemsworth and the student journalist he hooks up with (fellow Aussie Teresa Palmer of “Warm Bodies’’) do make an undeniably attractive couple.

Director Christian Charles gets some comic mileage from the inimitable Walsh and Rae, but it’s ultimately hard to care too much about a caddish protagonist like Norman — or, for that matter, about the clichéd “women are crazy!” sentiment that hums nastily under the antics of Dori’s unorthodox family gathering.

Rickman has fun playing a lecherous old bastard of a professor in Nobel Son, a pulpy would-be comic thriller, but the movie doesn't deserve him.

The latter is played by Parker Posey, who looks baffled throughout. As well she should.

There’s little sense of urgency, or — oddly, given the film’s title — of scale. You never really think that the 47 are truly outnumbered, and the large action scenes are often just incomprehensible.

Lifelines is a tiny movie, made for $385,000, but it strikes enough strange chords to make it resonate.

If I Were You has more than its share of laughs, but director Joan Carr-Wiggin needed to cut half an hour to make this fly without interest flagging. She had the exact same problem with her last movie, “A Previous Engagement.’’

Racist, stupid and boasting cheesy effects.

Marlene Rhein has directed 40 music videos, including ones for Tupac Shakur and Amy Winehouse. Judging by this, her feature debut, she should stick with the music.

A preposterous supernatural thriller that inexplicably managed to sign up Julianne Moore to star.

The acting, camera work and writing are all crude and amateurish, even by the standards of student films.

A shallow, stilted romantic thriller.