Borderline reprehensible, High Tension is a living nightmare, but then, why else would you see it?

Ultimately, The Jane Austen Book Club amounts to little more than a lukewarm collection of half-realized rom-com scenarios not fleshy enough to warrant their own movie.

If only the love story were a little more convincing, she might have saved the world and the movie.

Dead Man's Chest is best summed up by the scene where Sparrow and Will battle each other atop a runaway water wheel. Like the characters, this movie is just running in circles.

The movie becomes less fizzy once DeCillo decides to make A Statement (a rather incoherent one at that).

Those who have never seen the series should either swim rapidly in the other direction or be willing to dive right in and suspend disbelief about the multitude of things that just don't make sense.

One of those slow-baked Southern character studies about taking an old flat tire of a man and finding some way to love him anyway.

There are moments where Spacey and Bosworth have their fun in spite of the film -- they both adopt Southern "characters" as disguises at one point, which is a hoot -- but overall, 21 is a busted hand.

The entire film is a thrown-together collection of gunfights and in-jokes. The film is more concerned with expanding this universe of seedy tequila bars and dusty city streets than it is in telling a narrative story.

Predators biggest failing is that it manages to make its sci-fi violence absurdly boring.

It's too bad that the movie induces eyeball-rolling almost as much as it does armrest-clutching.

Overburdened with themes and symbolism, Baltasar Kormákur’s latest effort seems more apt for a term paper than a movie review.

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.

Everyone involved figured that sentiment trumps sloppiness. Original Soundtrack

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.

When it's all over and it's apparent that entire sections of the film are irrelevant and the paper-thin love story leaves you unsatisfied, hold your tongue, and try to remember that this film is v-e-r-y important.

Spoiled by its own insatiable desire for envelope-pushing flair; it’s wider-scoped when it should be intimate, splashy instead of subtle, icky but not scary.

Lambs feels five years too late.

Bloated with too many pratfalls yet too little plot, and neutered of its most viciously hysterical moments.

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

Wants to be at any given moment--wrenching, thought-provoking, surprising, heartbreaking--all it ever is is tastefully lifeless. It’s been beaten into a coma by its own scruples.

While each actor is talented in his own right, the on-screen friends' relationship is barely developed.

There were times watching this movie when I felt I was being force-fed 30 pounds of crème brûlée. Which isn’t to say I choked on every minute: I chortled heartily at the thread about the comeback of the washed-up rock star (Bill Nighy).

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.

At heart, a light, watchable film.

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

Too-laborious meditation on life and death.

Lords of Dogtown may pop for the skateboarding crowd. It fizzles for the rest.