Whatever brownie points Tillman scored with "Notorious", Faster is that wake-up call that he's no John Woo.

It's a modestly effective but jaw-droppingly violent picture.

Tedious time-killer of a kiddie comedy.

Hallstrom and his low-heat stars can’t find the pulse of this corpse.

The characters in The Perfect Game speak old school “Hollywood Mexican.” In other words, they speak English with accents that we haven’t heard since the golden Age of Speedy Gonzalez.

It's all very messy and entirely too obvious at the same time. Montiel makes the most of his settings, but the story keeps staggering into dead ends.

Off the wall? Friend, you don’t know off the wall until you’ve seen five twelve-year-old girl singer-dancers cover the Tina Turner/Phil Spector epic “River Deep, Mountain High” in the screwball kiddie dance comedy, Standing Ovation.

Whatever merits the production values have, the cheap frights don't deliver, the performers bring no pathos and the gimmick behind Apollo 18 flat out does not work.

Good looking (it was filmed in Winter Garden) but slow and bland, this faith-based tear-jerker is a depressingly unemotional affair, with writing and some of the acting so flat that even its emotionally loaded situations can’t inspire waterworks.

On the sliding critter-comedy scale, Furry Vengeance falls somewhere between the Chipmunks and the Chihuahua (the one from Beverly Hills).

It's a rarely amusing movie overwhelmed by grating kids, unfunny sidekicks, half-hearted Sandler funny voices and a co-star who seems more fearful of smiling with each passing year.

Give it points on setting and a couple of the performances, but the joke-starved All's Faire in Love only rarely rises to the level of fair to middling.

The villains are weak and the narrative has little drive to it.

A little like modern country music - odd moments of sincerity, heart and authenticity peek through the plastic, the hype and the manufactured hokum.

"English Reborn" isn't terrible and is certainly seriously harmless.

This is not a bad cast, but whatever wit the script aims for is lost in the queasy details director Miguel Sapochnik found more fascinating.

Well, Green Lantern isn't "Jonah Hex" bad. But it's silly enough to be part of the same "silliest Warner Brothers comic book summer movies of all time" conversation.

The polished production sometimes touches and amuses despite its naïve “love conquers all” script.

A violent, clumsy, jokey, badly-plotted and miscast mess.

A genre mash-up that never quite achieves "So very bad it's good" status.

The message delivered isn't subtle, with Kendrick delivering toss-away lines that suggest he doesn't even tolerate "the option" of divorce. But the bigger message might be that the Kendricks haven't sold out, "gone Hollywood" or watered down their Baptist beliefs based on efforts to reach an audience beyond the faithful.

This isn't the worst of the bunch, not by far. But my premonition is this won't be the finale this series has screamed out for these past few years. This decapitation train never seems to reach its destination.

Far more grim than "Grimm," and not nearly as much fun as it should have been.

Aniston doesn’t bring her old A-game to this. But at least she’s not quiet and reserved and no-energy, her approach to too many roles of late. Butler makes the most of his Neanderthal rut.

A slick one hour and 50 minute version of those political convention hagiographies ("A Man From Hope"), so it's not exactly an objective take on its subject, former Alaska governor and vice presidential candidate Sarah Palin.

Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.

Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.

The sex sequences are revealingly awkward - with their "Don't try this at home" message. But without characters we can invest in, this "Hangover Meets Zack & Miri Make a Porno" is just the "porno," and entirely too tame for that, too.