The pretentious title might be trying to make a statement about the new, fast-moving economy. It's also a weak reference to the first Wall Street. But mainly, no, it's just pretentious.

There's never any real danger in the movie, which makes The Expendables feel like one of those chummy Rat Pack flicks that were just excuses for a bunch of pals to get together and goof off.

Ultimately, the reason Charlie St. Cloud loses its momentum is because a love triangle between a grieving man, a beautiful woman from his past, and a spectral shade is just too strange.

This booming, cartoonish confection is a transparent attempt to take a property Disney owns rights to, and to try and create a Harry Potter-like franchise.

Jonah Hex tries to hedge its bets too much, and the result is a movie that probably won't please the few faithful with Jonah Hex bedsheets, nor fans of mindless summer action flicks.

Sarah Jessica Parker’s Carrie should be a cautionary tale of perpetual adolescence; her character should be out dating any number of Hollywood’s graying beer bellied frat boys. But no. Instead, we are asked to identify and sympathize with a person who gets everything she wants, but complains anyway.

The movie suffers from convoluted plots, turgid pacing, and strange disrespect for its source material.

It’s not cynically bad, it’s simply a case of movie malpractice.

A charmless, vandalized version of a classic.

When your movie is nothing more than a cheap and uninteresting homage, best not to call attention to that fact with a ten minute opening scene to that effect.

Chris Columbus, true to his namesake, has chartered new waters of lazy hackdom with this "Clash of the Titans" remade as a CW tween soap.

If you are a fan of brainless comedy that willed with bits that seque magically into some semblance of a plot…then The Goods is for you.

We loved this movie the first three times we saw it, when it was called "Life of Brian," "Wholly Moses," and "History of the World Part 1."

There is also a sense that the filmmakers weren't quite certain if they wanted to make a fun, kid-friendly adventure or a bawdy adult-skewed comedy. Walking the tightrope doesn't work.

Feels like a re-hash.

We don't needlessly hate on the romantic comedies, but this one takes the corniness and predictability of the genre to a whole new level.

When the hits finally do come, they are really only capable of scaring 13-year-olds making their first trip into the horror genre.

This completely rips off "Heroes," which itself ripped off a great deal from the "X-Men," so no real imagination here...except for the "Sniffs," who creepily track people by smell.

It's tough to get through because it's so slow; the beautiful Kristen Bell, who we love in almost everything, doesn't fit in with a bunch of nerds.

The climax is the only thing for which the rest of this flick exists.

Although it wasn't quite the comedy we had hoped for, the idea behind it is pretty cute; we just wished the laughs weren't so awkward and forced.

Not charming, but not cynical, The Spirit is wholly unrecommendable, but made with greater care than many movies that are.

A disappointingly schlocky effort that gives up on trying to make a realistic Punisher movie, settling instead on a hokey, multi-colored-neon gun rave best enjoyed in Rob Zombie's family room.

A self-impressed epic with grandiose vistas, flat characters, and a subplot about Native Australians.

It's an empty-headed look at a national problem with modern surveillance society, but if everyone acted as stupidly as the incredulous screenplay would have you believe, then it's safe to say the movie inadvertently reflects, rather than critiques, the insanity of our times.

It was received at Sundance 2007 with a resounding thud. Not because of this controversial rape scene, but because, well, it just wasn't good. Unfortunately, even with over a year of rejiggering, it's still not good.

It would be sad if Tinseltown used this poorly executed remake as proof that there's no audience for female-driven films, because that's not the case at all.

The leaden performances (Erik Scott Smith is the worst offender), the unlistenable musical interludes, the amateurish caricatures, and the short stories' lack of overall cohesion make this a garden party you should take a rain check on.