Horror fans will be so bored by the first 90 minutes that they will have either walked out or fallen into a coma by the time the blood starts flowing.

Whatever goodwill the movie builds up during its first 85 minutes is thrown away in the idiotic, anticlimactic final ten.

It’s disposable action entertainment – a throw-away title that’s not bad enough to turn off but not good enough to seek out.

Contraband is the kind of thriller that offers just enough in the way of effective elements to assemble a two-minute trailer. When it comes to a 110-minute feature, however, the sketchiness of the plotting and the director's lack of sure-handedness sink the project.

Marking the directorial debut of Andy Serkis, it’s competently made but not exceptional.

Overall, Death of Unicorn falls short of being the Next Great Cult Classic but there’s enough here to enjoy for those who appreciate offbeat horror that doesn’t skimp on the grotesque aspects of the genre.

The performances are solid but I walked out of the theater thinking I might have been equally edified and entertained reading the man's Wikipedia entry.

Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.

Not without humor, but it lacks the explosive spontaneity of "The Hangover."

A horrifically bad romantic comedy that serves as a celebration of entitlement, consumerism, and shallow behavior.

The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.

All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.

Joe is a masterpiece of special effects wizardry, looking more real than any giant primate ever to walk across the silver screen. By combining animatronics, computer-generated images, and a man in a costume, Mighty Joe Young creates a compelling illusion.

Jack the Giant Slayer is an enjoyable fantasy/adventure whose magic is partially undermined by marginal 3-D.

Death at a Funeral does what a good comedy is supposed to do: generate laughter. The humor gradient is lopsided - the second half, which builds comedic momentum, is significantly funnier than the first half, which is mostly set-up. Still, any such unevenness aside, the overall impression is one of enjoyability.

On a purely visual level, Valerian and the City of a Thousand Planets deserves mention among the most technically accomplished works of those three. But as a complete motion picture experience, it falls considerably short.

Freaky Friday is motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial. It will please those who seek it out, and probably won't horrify or disgust anyone who ends up seeing it for other reasons (dragged along, bribed, or otherwise coerced). There are enough clever and/or funny moments to provoke laughter from even a scowling 13-year old boy who wants to be next door watching Terminator 3 for the third time.

The romantic comedy doesn't have much, but it has Kidman.

Characters are left half-developed or undeveloped so that as much plot as possible can be crammed into two hours. The result, while not wholly unsatisfying, will disappoint those used to the cinematic richness we have come to expect from this collaboration.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".

It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.

Someone please get director Ric Roman Waugh a tripod! Snitch might be a passable action-thriller but it's hard to say because every time an action scene comes along, the image shakes so badly it's impossible to keep anything in view or focus.

Underwritten yet nevertheless enjoyable.

Despite being largely uninspired, the dialogue is peppered with enough profanity and salacious comments to keep the undiscriminating interested.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Won't win points for originality, but the screenplay includes some snappy dialogue, smart observations, and an uplifting message about the importance of friendship.

Functions as much as a primer on how to conduct underground filmmaking as it does an offbeat romantic comedy.