Has its moments of charm, but it's ultimately a fascinating failure that surely looked better on paper than it does on the screen.

Phase II has some nice comic touches, but it's a forgettable B-movie.

Theron proves the master of operatic hissy fits, Blunt lets the pain show beneath the glacial cool, Chastain brings her usual Juilliard-schooled commitment to the occasion, and Hemsworth is Hemsworthian, if oft-times incomprehensible, delivering his lines in a gorse-y whorl of vowels and consonants.

Even though it's all preliminaries, no main event, Grudge Match is harmless enough as entertainment. Just not as harmless as its poor protagonists.

An embarassingly unfunny, stumblebum adaptation of Toby Young's memoir.

Williamson's screenplay doesn't match the cleverness of his conceit; it lacks the requisite archness and wit.

If Stealth were a recruitment film for aircraft-carrier duty, one would be tempted to say, "Mission accomplished." As a feature film, it's a washout.

The best that can be said about the movie is that it's harmless and mostly charmless. The Clone Wars is to Star Wars what karaoke is to pop music.

Fast is a good quality in an action/adventure. But there is lightning-paced and then there is warp speed. Doug Liman's Jumper is the latter, a not-so-good quality in an action/adventure for the simple reason that the audience can't figure out what's going on.

It's not that Salvation Boulevard is bad: It's quite funny at times and has some good performances. But it's so predictable it has no bite, either as social satire or as slapstick comedy.

Roughly an hour in, Transformers 2 morphs from teen adventure into lumbering war movie. Bay and his screenwriters squander their human capital in order to show us scenes of 20-ton toys crushing 10-ton toys.

A snappily fun Mantrap Movie, as films about husband-hunting gals are known, is that rare hybrid of romantic comedy and Super Bowl.

Would I see it again? Not even for a Scooby snack.

The movie's main purpose seems to be to make audiences squirm uncomfortably. Yelp and shriek in armchair-clawing glee? Not likely.

Proves a theory first advanced in the movie "Repo Man": The more you drive, the stupider you get.

It's wholesome as a glass of milk, and as refreshing.

Stiff but handsome film, there's little sense of the conflict and complexities that drove Alma Mahler.

A silly, if fun, futuristic sci-fi romance.

Ma Mere, with its sun-drenched sense of dread and band of reckless, unlikable characters, isn't very good, but that doesn't stop the actors -- especially the intrepid Huppert -- from going all the way.

There is mismatch of tone and content throughout The Kitchen, which is never sure how to pair its lurid turns of plot with its intersectional feminist ambitions.

Ostensibly a comedy, and a feeble and innocuous one at that, Post Grad is one of those what-were-they-thinking?

Instead of paying homage to these creepy creatures of bygone Hollywood, Sommers seems to be unwittingly lampooning them. The first few minutes of Van Helsing, shot in black and white, look like outtakes from Mel Brooks' gagfest "Young Frankenstein."

While this cheesy, heavy-metal melange of horror, space hooey and cowboy shoot-'em-ups isn't exactly dull, it isn't anything to write home about either.

Strictly for adventurous moviegoers, a peculiar experience -- a polemic that is at once watchable and repellent.

Scenery rushes by, noise blares, characters pop up wearing new costumes that they couldn't possibly have had time to change into as they eluded their adversaries.

In some ways, Identity Thief is a raunchier variation on another recent odd-couple road pic: Barbra Streisand and Seth Rogen as overbearing mom and nebbish son in "The Guilt Trip."

A crazed symphony of the supernatural. The elements don't hang together, but Kasdan delivers real scares, and real hoots, in the midst of the mayhem and madness.

The film, which is amiable, undemanding family holiday entertainment, is more a tribute to the astonishing skills of the dog trainers than anything else.