Had the picture maintained a sense of lightheartedness, it may have better lived up to its genre. But, as is, Alex & Emma is flat, neither whimsically romantic nor consistently comedic.

At root, novelist Dan Brown’s story is an entertaining one--whether you believe any of these ideas are real or not. And in the end, it’s that standard movie trope (good guys must solve dire puzzle while bad guys give chase) that makes The Da Vinci Code an okay film.

Ultimately fails as a film in its broad strokes and inadequate scene development.

Rambo is surprisingly effective as an action movie precisely because the villains seem truly dangerous and the "mission" truly a death wish.

It's great that the comedian felt the call of a higher office, but it's a call that apparently only he can hear.

Somehow the movie ends up feeling like a museum piece or, worse still, a work of fiction.

I like a good flying, fire-breathing dragon as much as the next fellow. Beowulf's excesses, though, are such that the film ought to carry the subtitle …But This Is Ridiculous.

Farrell and Hayek are two beautiful people with absolutely no chemistry. Even when they're lying in bed together, they're so far apart that they might as well be in different movies.

Summing up, yes, the effects are shockingly bad here, but the real tragedy is that this is a good story that was made into a movie by the wrong people.

My Super Ex-Girlfriend was written by longtime "Simpsons" scribe Don Payne, but you wouldn't know that based on the finished film, which lacks the intelligence and sly wit that has kept Homer and the gang on the air for all these years.

Peyton Reed's The Break-Up proves there is nothing particularly funny or charming about two people splitting up, even if the couple is played by Vince Vaughn and Jennifer Aniston.

A mistake was made: Evening is a book that would have been best left on the page.

The result is more bawdy diversion than historical fable.

Ultimately even the strongest characters deliver mixed results.

Ledger turns in another stellar performance and Cornish is heartbreakingly good also in this well-crafted film. But once that first plunger is pushed, the surprises are few.

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.

One could argue that you shouldn't expect a teen comedy to offer a nuanced depiction of the role of education in public life, but in response I'd refer you to "Election" and "Clueless."

There's a lot to be said for a movie that isn't after instant fame, but only wants to make audiences feel good.

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

When he runs out of material to tickle with, Black dips into his musically tenacious "deedle-diddle-dee" for some sure-fire ridiculousness.

So if you like Ferrell or Cohen, go ahead buy some popcorn, check your brain at the door, and you will laugh.

Their movie is cold, and I mean that not as a weather pun, but in the sense that it's impossible to warm up to a character who sees the awful things happening around him strictly in terms of how they affect him.

It's clear the creators wanted to bring our hero back but were uncertain where to put him. Sadly, Indiana Jones is not relevant amidst the atomic blasts and disillusionment of the Soviet era, and he's not even recognizable in the pixilated universe of recent cinema. To quote the great Dr. Jones, "It belongs in a museum!"

Constructing the narrative (made up mostly of dramatic reenactments, although given the static nature of many of the scenes, the word "dramatic" is pushing it) obliquely, Devor and co-writer Charles Mudede weave in the thread concerning the individual referred to as "Mr. Hands" into the film almost casually.

Those expecting a return to the depravity and menace of Abel Ferrara’s 1992 notorious original will be disappointed.

As a bonus, it contains, at least, the best death-by-carrot scene in the history of film.

Although McDormand's performance is consistently focused -- one would expect no less from the actress -- the movie itself can't settle on whether Miss Pettigrew is Mary Poppins minus the sugar spoonful or just plain Carrie Nation.

American audiences have seen Ju-On. And The Grudge just goes to show why remaking it is such a frivolous idea: What's the use in wasting so much energy if the filmmakers aren't going to fix what was wrong with the movie in the first place?