Begins with a scene of mass repentance, but the real sin here is a profligate waste of talent.

If you strip away all the gunplay, Hitman: Agent 47 would be about 10 minutes long.

There are a few nice scares in The Colony, and the female lead, Rookie Blue's Charlotte Sullivan, looks really, really cute in blond dreadlocks. But she can't save the movie, nor can her impressive costars, Bill Paxton, Kevin Zegers, and Laurence Fishburne.

For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules.

Although there are several truly jolting scares, there's also an abundance of hackneyed dialogue and more silly satanic business than you can shake a severed limb at.

A smart aleck-y kidnapping caper that whooshes around to a thumping electronic beat.

An odd mix of stiff and sumptuous.

An impossibly enjoyable live-action cartoon that plays on our real-life anxieties about vengeful cadres of foreign radicals blowing up people - and places.

It's too gauzy, and - with its Ron Bass script - too goopy by half.

This mostly vulgar, but never explicit, comedy resolves itself surprisingly, revealing depth just when you think it's going to continue its skip across the shallows. In other words, Just Married might not be good, but it's just good enough.

Highlander: The Final Dimension is exactly what it seems - drivel. [30 Jan 1995, p.D01]

No one is bad in The Big Wedding, but no one is remotely believable, either.

I could make a joke here about the new Pokemon movie.

Happily N'Ever After carjacks "Cinderella" and puts her wicked stepmother behind the wheel.

Speechy and preachy and just a teeny-weeny bit naughty.

Cage appears as a knight of the Crusades, slogging across the continents, slaying infidels and unbelievers and anyone else who gets in his way. There isn't a minute when it looks like he's having fun.

Screenwriters Nicole Eastman and the "Blonde" team of Karen McCullah Lutz and Kirsten Smith provide dialogue that has the propriety of the locker room.

Can be described as whatever is the opposite of a Christmas classic.

Teeming with socially awkward misfits, Gentlemen Broncos is not without its absurdist charms, although Hess (who co-scripted with his wife, Jerusha) pushes the envelope in ways it doesn't need pushing.

There isn't an original frame or line of dialogue in Rage. It's strictly paint by numbers. Or in this case, plasma.

Slapdash, with dialogue and plot points that were cliches in Dickens' era, the pic sends up, then reaffirms, all the values the media sell us each holiday: compassion, forgiveness, tolerance.

A bubble-brained comedy with as much bearing on the real world as a Pokemon cartoon.

Once upon a time there were made-for-television movies. Now there are made-for-television movies for movie theaters. The Perfect Man, another anemic Hilary Duff vehicle, is a case in point.

If Sweet November were a puppy, it would have rabies.

Lame and misguided homage, which reduces satire to vulgar silliness for kids.

However terrific Murray is, if Antonio Banderas, mellifluous voice of Puss-in-Boots in "Shrek 2," went paw to claw with Garfield, Puss would definitely triumph.

Now that Nina has finally arrived in theaters, revealing itself to be a listless, oddly constructed tale that does a poor job of capturing Simone's star quality or indomitable racial pride, it makes you wonder: Was it really worth kicking up all that controversy for a movie that's this bad?

This is not the plot of your typical Ice Cube movie. It does, however, combine the plots of at least three John Hughes movies.