A quarter of the way through the film, it’s all just too much.

Presents nothing blindingly new for fans of Apatow- or Sandler-style humor and when watching it, one can hear the faint rustling of old scripts being yanked from drawers for a timely cash-in, but with his high-school memories now hopefully exhausted, maybe Rogen has a good college yarn to spin.

A clichéd rock-star film.

Martin Short is so odd that apparently, neither he nor the film industry know what to do about it. In a way, Jiminy Glick in La La Wood is both a fictional riff on this very fact and hard proof of it.

Rojas is played by Penélope Cruz, who's endearing enough, but still comes across coarse and irritating every time she attempts a role in English.

If you have a propensity for motion sickness you would be best served staying away. This movie is Tarantino on speed, and without focus and style. It is in-your-face and proud of it with no apologies.

Ultimately, it is a serviceable, well-made thriller that earns its R rating.

Despite the attempts of the Academy Award-winning makeup artist behind Mrs. Doubtfire, these doubtful misfires can't pass as white or as chicks.

A sadistically bland entertainment that oversells its reveals and lets its suspense drip so long that it would be nice if something (anything!) happened.

When Vantage Point is staying with Quaid and Fox as they hunt the suspected assassins (including the arrestingly beautiful Israeli actress Ayelet Zurer) it's a perfectly serviceable thriller with high production values and some better-than-average car chases.

Swedish director Mikael Håfström's Derailed makes "Fatal Attraction" look positively subtle, while mustering none of the nuance or moral complexity (not to mention the sexual chemistry) of "Unfaithful."

Fans will cheer at Schumacher's faithful inflation of Webber's vision, which interprets all that pomp and bombast as if the show were some sort of overblown Vegas attraction.

What begins as a pleasantly utilitarian thriller gradually decays into a mediocre suspense drama and ends as an irritatingly feeble love story.

From less a purist's standpoint than a seeker of serviceable junk food, this comprehensive waste of time is too bouncy to be an "Elektra" bummer, but should make Marvel mascot Stan Lee think twice about burning another lucrative bridge with unintentional hilarity.

An ambitious disaster, Alexander is the rare historical portrait that leaves you feeling as though you know less about its subject than you did upon entering the theater.

Flashy, forgettable fluff.

For his fourth paycheck-cashing run through “J-Bruck’s” action-hero gauntlet, Cage lazily plays Benjamin Franklin Gates-the first of many overstuffed social-studies references.

The story is a vapid "Casablanca"-lite.

Finally, a horror movie for the reality TV generation. Saw II feels like an episode of "Fear Factor" or "Big Brother" with Rob Zombie at the helm, and if that doesn’t scare you away from this ridiculous movie, well, feel free to indulge your questionable tastes.

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.

At times funny, and even occasionally witty, Alvin and the Chipmunks is a lively, entertaining romp that will certainly bring smiles to the young ones this holiday season.

The film is laughable when it tries to be dramatic and stone-faced when it strains to be funny. Beyond that, Man of the Year is often so wildly off the mark in its depiction of how elections are run, it's hard to believe that it was directed by the same guy who helmed "Wag the Dog," one of the savviest political films ever made.

Moves easily between manic humor and soft, touching moments that get to the heart of what it means to be a parent.

Ultimately, Besson has made an interesting, if shaky in places, homage to childhood.

Manages to pull off an adequate amount of scares, when compared to most horror flicks in theaters this Halloween season.

Sexy, stylish, and legitimately suspenseful.

With his latest, the sci-fi–action–adventure The Chronicles of Riddick, Vin Diesel has established himself as the new face of morally ambiguous anti-heroes.

You're most likely find that Eragon is less a gem and more cubic zirconia -- nice to look at but not as preeeecioussss as its recent fantasy bretheren.

Ultimately even the strongest characters deliver mixed results.

Both Harris and Gooding, Jr. are fine actors trapped in a mawkish, pandering production that wastes the latter and is a waste of time for the former.

While "House of Sand and Fog" remained (somewhat precariously) balanced on the knife-edge that can turn tragedy into bathos, this picture doesn't fare nearly as well, and begins weighing down the viewer with its putative significance only minutes after its opening credits.

As unrealistic as the talking mannequins, but we’re pleasantly surprised by how good this movie makes us feel.

A subtly hilarious supporting performance from Frances Fisher, as Moore's mother, and a latter-day Sid and Nancy (Michael Sheen and Parker Posey, seeming deliriously inebriated the entire time) round out the thoroughly diverting cast.

It's really rather dull, lacking in any originality or flair that might draw attention to the cause. It's lightly comedic, lightly dramatic, lightly tragic, and, therefore, lightly entertaining.

In the age of reality television, Paparazzi feels desperately out-of-touch, the jaded grousings of an industry burnout.

This film should have soared, but doesn't quite get off the ground.

For those who loved his singing in "Velvet Goldmine," Rhys-Meyers once again proves that he has pipes.

Singleton’s film is, in fact, pretty enjoyable if you look at it as the B-movie it really ought to be, rather than the E-ticket major studio release it actually is.

Television-loving children will scream for Rugrats Go Wild!, and in this case, their parents can go ahead and let them—they won't be missing much.

This one will make you laugh early and often, and send you out of the theater in a cheerful mood.

The controversial subject matter will undoubtedly hit close to home for many people, but a few genuinely uncomfortable scenes will either provoke the audience into serious thought or just cause them to leave the theater angry.

Big and dumb and loud and entirely past its prime.

Gothika deserves credit for embracing the ghost story genre so whole-heartedly, but as any ten-year-old girl can tell you, there's nothing original here to see.

For adults -- even adults with fond memories of the TV series -- this is one bizarre mess.

Are these iconic, antihero relics smartly satirized in a post-slasher, or is FVJ just more dated, third-wave trash? Disappointingly, it's the latter.

Blunderingly out-of-touch, star-studded embarrassment of a sequel.

I suspect Scott sees Domino as the ultimate provocation, his way of grabbing Hollywood by the throat and shouting, "You want reality??! I'll give you REALITY!!!" Sort of.

The film wraps up in a neat, environmentally friendly package that might keep some kids entertained but will leave adults yawning.

To be fair Deep does have one thing going for it. While the movie never seems to end, and when it does… oh man. Think "Aquaman" meets "Training Day." It proves that sometimes a crappy drama is sometimes just a comedy in disguise.

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.

So go on, pay your ten bucks and get your hate on.

Absence of motive makes the movie provocative; the explanation renders it irrelevant and defuses any interesting debate the film might have inspired.

Sticky, saccharine, bordering on diabetic, Honey overindulges.

Clunky and riddled with clichés from start to finish, which is a shame because the cast is able and is led by Oscar-nominated director Mike Figgis.

The beauty of You Got Served is that it delivers the moves from every vantage point.

This is not a film occurring in an alternate or imaginary reality; rather, it is a film of NO reality, that is, a picture that changes the rules of its universe strictly according to its creators' whims.

Dawson is lovely to watch, and when Smith isn't furrowing his brow and looking concerned, he's not so bad himself.

Overall, Little Black Book is the cinematic equivalent of chic lit--mildly amusing, but completely forgettable once you're done with it.

What made Aeon Flux compelling and special as an animated series had everything to do with the medium and the freedom Chung was given to shape the story as he pleased. Take away those elements, and Aeon Flux becomes nothing more than middling science fiction, which is unfortunately what the film is.

Viewers should hope Jeepers 2 is the final act in this series. The once-promising Creeper, who we see up close this time, has emerged as a garden-variety killer.

The story and stunts are outlandish, and the effects are distractingly computer-generated. To be fair, some of the best things about the film are very Japanese, notably the anime.

War is like Statham's other actioners "The Transporter" and "Crash" -- fun, but not big or dumb enough to be glorious.

A tediously noisesome English-language remake of an Asian horror picture that wasn't any great shakes to begin with.

As preposterously awkward, naïve and contrived as this movie is, it's still a curious sort of pleasure to witness-especially the gospel singing scenes.

Wan wants to have something both ways, and in the end, he gets almost nothing. As Clint Eastwood said in yet another genre picture: A man’s gotta know his limitations.

Better than I expected but still not entirely convincing. As a cautionary tale for demimonde-sters, though, it has its useful points--never argue about money while you're in a K-hole, that sort of thing.

Before it descends into dull sadism and general incoherence in its third act, Turistas is a mostly effective exploitation picture, the kind of movie that would have been proudly displayed on the marquee of a '70s-era grindhouse.

Some of the effects are squirm-worthy, if not actually frightening. Amid all the fake profundity, those moments -- you know, when the film is actually entertaining -- are rare.

If you liked the first then you are going to like this one as Clouseau is offensive and outrageous, which is a perfect fit for one of the "Wild and Crazy Guys."

The movie falls flat at the end, unnecessarily linking all of the characters in what seems to be an attempt to show how it really is a small world after all.

Though the series seemed like a great concept three years ago, it's now just a repeated assault on the senses, designed strictly for the gross-out crowd, and disturbs rather than scares.

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.

Stick it out through the first ten incoherent minutes or so, and Stealth is an invigorating reward, especially the tense final half-hour.

These site-shifting extravaganzas sometimes reach an exhilarating level of near-abstraction. So it's too bad that just about everything surrounding the action scenes of the picture is such unmitigated cr--.

It is unapologetic about delivering what it promises. Bigger battles. Massive explosions. Megan Fox looking hot.

It’s tightly paced and confidently styled. These times call for more daring in our horror films, but for this weekend, this will do the trick.

Horror classicists may be upset at his tampering with monster mythologies, but everyone else will just be going along for the ride, and they’ll have a terrific time.

Ultimately Hitman is about bullets, blood, and bombs. For die-hard fans of the videogame, there is much to relish in terms of cobblestone car chases, punishing fistfights, cool weaponry, impossible physical feats, and ear-popping gun battles that rage through exclusive hotels in exotic locations.

The story's beginning is in a rush to get to the the killings, which get more and more disgusting.

As endearing as Ferrell and Kidman are on their own, there's just no chemistry between them onscreen.

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.

Silly, light fare made better by the over-the-top physical comedy of Bullock and King, but lacking the innate charm of the original.

A disaster, representing a number of negative firsts for Shyamalan.

Perhaps The Haunted Mansion will scare the ride-adaptation trend out of Disney's system. Let's hope Mr. Toad doesn't have a development deal.

Just because it’s less campy doesn't mean the acting isn't awful.

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."

Too slack to do much harrowing and falls back on some very raggedy commonplaces at the points when it should be delivering knockout scares.

All told, however, this bland little movie fits right into it's late January slot. It's a little bawdy - the fat-lady thong bit was funnier in "Shallow Hall" - and it passes the time.

A nonsensical vision of pre-history that lurches randomly between "caveman vs. jungle beast" encounters -- Roland Emmerich's Shlockalypto -- and a rococo Stargate spin-off involving pyramids, slave uprisings and oracles.

Lacks thrills, narrative, emotion, believability, character development--and frankly--watchability.

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.

Despite its Latin flavor, there is nothing new or original about Chasing Papi's girl-power story line and ridiculously stereotypical characters. But the film's charm lies in its ability to see itself for what it is.

Russell Brand is absurd, funny and wonderfully out of place in a family movie.

Duchovny bookends his story with a modern-day framing device that takes all that has gone so well until this point and turns it cloyingly sentimental.

Offers a charming distraction from the current campaign season by sidestepping real issues and making light of the process.

You won't see the twist coming, thanks to a clever and precise piece of casting, but that's the best compliment that can be paid to Awake, a plotty and unfocused medical thriller.

While this Kid isn't up to "Spy Kids" standards, the good news is the film hews closer to the high-concept kids' movies of the 1980s than to all that Disney Channel goo that's been repackaged for the big screen lately.

The new film is also sleeker, sexier, and, thankfully, shorter than the original.