"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.

For a while, the movie looks like it’s going to go dark but then chickens out and leaves the viewer with a palpable sense of dissatisfaction.

There are good things to be said about The Spirit, but not enough of them to outweigh the bad.

The film occasionally pokes fun at itself, although not nearly as often as it should. I don't recommend it for anything more significant than a bottom-of-the-barrel rental or a desperation cable choice, but it delivers what it advertises, and I suppose that could be considered a virtue.

Carrie is just a bad movie, with only Spacek's performance making significant portions of it watchable. And the film has not improved with age. It looks just as cheap, cheesy, and ineptly made today as it did when it was first released.

Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."

Fred Claus is less enchanting than the 2003 fairy tale, "Elf" (which was directed by Vaughn's good buddy, Jon Favreau), but no worse than the inexplicably popular Tim Allen series.

Zoolander would have been better left as a stand-alone cult classic.

Wildling starts out strongly but the qualities that make the first 20 minutes engrossing and harrowing drain away and the movie morphs into a thoroughly unsatisfying excursion into fantasy-tinged horror.

Considering the hype, it’s a disappointment. It might have been better to populate the movie with three unknowns and spend a little more on the screenplay. You can have The Rock, Wonder Woman, and Deadpool, but it doesn’t mean much if they don’t have clever things to say and meaningful things to do.

This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

Angel Has Fallen feels like it was cobbled together with cliched action scenes and circumstances overused by the once-popular TV series "24." Angel Has Fallen tries hard (and often succeeds) to topple the Kiefer Sutherland program on the “preposterousness” scale.

You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.

Those who are more discriminating than the average 9 year-old will discover that The Quest for Camelot rapidly grows tiresome. Consequently, any adult on a search for the holy grail of animated pictures is advised to keep looking.

There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.

It’s supposed to be a screwball comedy but someone forgot to include the laughs.

There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.

Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.

A hard-to-swallow drama about sibling rivalry, mental illness, and bad therapy. Cobbled together using clichés and contrivances, Brian Shoaf’s feature debut perceives mental illness more as a personality quirk than a sickness and treats it almost as a kind of magical realism.

This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.

It’s not a bad movie but it is too long and lifeless for what amounts to a two-hour commercial for a three-minute ride. Even the wait time to get into one of the moving chairs doesn’t take as long as watching the film.

Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.

We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.

After teasing the viewer with the possibility that this movie might be interested in doing more than offering jump-scares, claustrophobic point-of-view shots, and child-in-peril scenes, Come Play proceeds to provide those all-too-familiar sequences and more. Worse, because the lead character is autistic, it doubles down on the issues that can arise from communication difficulties.

This is a perfect example of complete and utter mediocrity.

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