Enough is Apted at his most commercial, and, unfortunately, his least compelling.

This mean-spirited and unpleasant production is unlikely to find favor with many either inside or outside of Elvis’ fan base.

Supercon has its moments, although not nearly enough of them, and its grossest-of-gross-out scenes might be disgusting enough to cause John Waters to wince.

40% fight scenes and 60% fan service, Simon McQuiod’s slash-and-gore fest will leave the uninitiated scratching their heads while the die-hards jump to their feet and applaud.

When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.

The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.

Made well, this sort of material has the potential for a deliciously lurid two hours. But Feig's lack of aptitude with the material results in a cheap and artificial product, never really drawing the viewer into its web and spinning an overlong yarn that fails to embrace an identity.

Were it not for the participation of two A-list actors, Nicole Kidman and Colin Firth, Before I Go to Sleep would have been headed straight to video. The inclusion of those two doesn't make the film any better, just less anonymous.

In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.

Designed for and targeted at prepubescent girls, the holiday-themed fantasy adventure drowns in CGI, underdeveloped characters, and a plot utterly devoid of energy and excitement.

If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.

While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.

Although the film’s sci-fi elements are flimsy at best, it boasts some strong action sequences. The special effects sometimes feel a little too video-game-y but, for the most part, they get the job done.

The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.

When it comes to waterborne movies, Wolfgang Petersen’s "The Perfect Storm" (not a horror film) is more terrifying than Mary.

6 Below is meant to be inspirational and, although it’s not specifically designated as a faith-based movie, it often feels like one.

Despite its general failure, some scenes from Clash of the Titans remain memorable. Chief among them is the duel with Medusa, a scene that ripples with tension.

Ultimately, however, appreciation of The Phantom of the Opera will hinge upon your opinion of Lloyd Webber's skills as a composer.

Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.

Likely won't please fans of the original TV series, but the movie hasn't been made for them.

Simply isn't a very good motion picture.

Because so little of it works, the film is disposable.

Tarnishes the image of its predecessor but the original Independence Day wasn’t all that good to begin with.

Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."

The film isn’t funny enough to warrant a recommendation and, although it doesn’t desecrate the less-than-sacred image of the earlier film, it proves itself to be superfluous. However, Coming 2 America will disappoint only those who believed Murphy could do something amazing or hilarious with this dubious property.

I'm not a religious man but, Hallelujah! I may not be done with Meyer but at least I'll never again have to cope with the angst, self-absorption, and vampire mythology mutilation that characterized these five movies.

While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.

Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.