Weighed down by its plodding mediocrity.

An overwrought, undercooked tale of crazy love and crazier revenge.

Along with the rest of the movie's fine cast, Franco presumably believes he is in the presence of art. Me, I know a fire hose when I see one.

As the loosely aligned band of survivors turns into a pack of sociopathic loners, the only reasonable conclusion is that they were all pretty rotten to begin with.

Zackham's film feels as plastic as a cake topper — and just as hard to digest.

The moody picture even swings toward hopeful in its final minutes, as it tries to celebrate Charles as the man he is, faults and all. It's enough to leave you wondering whether even a glimpse inside this mind is too much.

A deeply off-putting independent comedy.

The Ugly Truth serves up yet another tightly wound career woman, ripe for chopping up, tenderizing and ravishing by an alpha male who knows what's good for her.

You don't have to be a fan of Sex and the City to appreciate the kitsch humor here. Part TV-series sequel, part Hollywood sendup, SATC 2 is all satire. It's hard to miss that this film is making gentle fun of itself, of the franchise's materialism, even of its own cinematic allusions.

Style can be a risky thing in a movie like this, which aspires above all to inoffensiveness. Originally titled "Playing the Field," which was deemed too racy, this rom-com would have been more aptly renamed "Running Out the Clock."

If Nenette as a character is more a narrative convenience than a depiction of an actual condition, her permanent childhood does provide the 63-year-old Balasko with an exuberant, unpredictable role. That she continues to make work for herself as both an actress and a director is a good thing, but it would be better if she found a more ambitious writer.

None of them -- not one, not for a moment -- is remotely funny.

Never before has a movie's direction and script lagged so far behind the actor's hapless persona. If Fraser's character is a human Wile E. Coyote, director Roger Kumble is barely Elmer Fudd.

First-time feature director Peter Billingsley could have enlivened the action with more vigorous editing. Everything takes too long, and the slapstick sequences are particularly lethargic.

The road to hell is paved not just with good intentions, but with movies that attempt to capture the way women really talk.

At its heart, Garry Marshall's New Year's Eve is soup made of rocks.

This is a movie for those who watched Liam Neeson in "Taken" and thought, "Hey, this is fun, but can we do it without having to wait 15 minutes for the action to start?" Solomon has 90 minutes at his disposal, and doesn't want to waste time with setup.

Miles ahead in terms of production values and a conscious avoidance of overt proselytizing. It will likely be an enormous success with the evangelical communities at which it's targeted. That doesn't save it from being an utter failure outside that narrow context.

This movie, like all of Sandler's, insists on its star's likability.

If it's about anything at all, the lame new comedy All About Steve is mostly about Mary, a logorrheic crossword compiler with too much arcane information in her head -- and the social skills of an excitable 6-year-old boy.

The film places a great deal of stock in the role of geography in its characters' happiness, but doesn't really address the fact that their problems don't necessarily stay in the rear-view mirror once they hit the road for that change of scenery.