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

The beginning is a little slow, but after Neeson starts his hunt and does his best wrath-of-God impression, it doesn’t skip a beat.

Step Brothers is a hard R, for good reason. While it's somewhat sweeter, if you will, than a typical Apatow flick, the ludicrous situations call for equally ludicrous behavior and statements.

Earle fans might see this film as a satisfying portrayal of a man they know and love, but those unfamiliar with the man and his music will likely leave the theater without much more interest in him than when the movie began.

Listen up, fanboys and enthusaiasts of sophisticated visual wizardry: this theological noir-horror actioner-a stand-alone, rapturous good time-craftily and accurately captures the straight-faced camp, wry wit and episodic structure of its source material.

The kitchen action here is pretty diverting -- everybody involved seems to have boned up on their Bourdain and Buford, and having done so, sanitized what they've gleaned with Hollywood polish.

Might have been a tasty black comedy if treated as such, but the twisted sense of humor is never allowed to elevate beyond the cutesy sensibilities of a romantic comedy.

Over the years, Pacino's Method has become his madness, and now, whether he's playing Shylock or Satan, he doesn't become the part so much as the part becomes him.

Even Depp's increasingly tired antics can't lighten the dour mood; in fact, Sparrow is completely overshadowed here by Rush's lively turn as Barbossa.

Scarlett Johansson looks lovely and hasn't much to do besides that, McGregor only starts having fun when he's playing the "original" of his clone.

The Ten has one foot in "Monty Python's Meaning of Life" and another in their "Life of Brian," but ultimately we get the David Letterman School of Comedy: mediocre jokes continually repeated until they sometimes become uncomfortably funny.

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.

The reason for all this dull-to-offensive story stuff is, of course, the dancing, which has its moments but overall seems so calculated to impress that it loses all other reason for being.

Suffocatingly boring.

Isn't quite self-aware enough to be really funny, and certainly isn't serious or genuinely exciting enough to be thrilling because of it's action.

Two-hours of trashy eye-candy that, while fast and loose with the truth, functions as a perfectly adequate divertissement in a time of year when studios tend to unleash their worst.

Law owns every scene he’s in--which is literally all of them--plus a decent supporting cast and dapper dialogue truly make for a breezy good time.

Takes a long time to say nothing new, which is a shame because it wastes fine performances across the board (it's a nice reminder that Farrell, can, in fact, act), and, well, a really effective score by Philip Glass.

There's no question that Death of a President fulfills its objective as a conversation starter, but as a movie, it's sketchy at best.

I hold Soderbergh in high esteem, but as handsome a technical achievement as it is, The Good German plays to me as a failed experiment.

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

Tron: Legacy will only be enjoyed by men in their thirties and early forties searching for a Proustian moment.

Ultimately all of the ado about men in shades and dark suits running around shooting and shouting at each other comes to a satisfying, if predictable, conclusion.

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

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?

Despite some laughably silly plot elements, McG has created an overall entertaining movie experience. It's a great kick-off to the summer explosion season.

This is a perhaps even more misbegotten remake than the Farrelly Brothers' update of "The Heartbreak Kid."

Tristan & Isolde isn't a ground-breaking film in any way, but even though the story is familiar and even if you don't like romances, good casting, an able director, and notable cinematography draw you in to the fairy tale feeling of long ago and far away. Pass the popcorn.