By the time the film is well into its second hour, we begin to wonder whether there's ever going to be a variation on the carnage and mayhem. As it turns out, there isn't.

Let me admit to loving the premise behind Supervized. The problem is that a movie needs more than a great premise – it needs to grow and nurture that idea, and that’s where Supervized falls short.

Although this film has more cracks than the collapsing tunnel, thrill-seekers in search of two hours of cinematic action will find that Daylight falls considerably short of being a disaster.

Unfortunately, like far too many films, this one gives up the ghost during the last fifteen minutes, saddling an otherwise-enjoyable film with a dumb ending.

It's a perfect choice for a mother/daughter evening out...decently constructed, solidly performed, and not too naïve.

For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.

That Sayles is able to say these things in the context of a compelling story with well-defined characters makes this one of the early fall triumphs of 2004.

Links between climate change, population growth, and a potentially catastrophic worldwide famine are reduced to background plot points. The moral/ethical conundrums of the “solution” are paid lip service but not aggressively integrated into the story.

The movie is pleasant but unspectacular, and at times it borders on being too cute.

Even for those who have an orgasmic reaction to kaiju confrontations, far too little of the film is devoted to them and the overreliance on CGI leeches away the immediacy and awe associated with the spectacle. This isn’t as bad as the 1998 Godzilla misfire but it’s perilously close.

The General's Daughter is for all those who enjoy mystery/thrillers that neither attempt to break new ground nor are afraid to employ familiar plot devices.

The strength of the cast speaks volumes about the "prestige" aspect of the production. In addition to Bridges, Meryl Streep, Katie Holmes, and Alexander Skarsgard contribute.

Wyatt Earp's attempts to cover so many years lead to too many scenes with little emotional power. The film doesn't shoot blanks, and it is better than Tombstone, but, considering the names involved, a little disappointment isn't out of the question.

It’s not the worst we’ve seen from either Levinson or De Niro but there’s a sense that a pairing of these two working with a Pileggi script should have borne juicer fruits.

Unfortunately, although Blair Witch owes much to the spirit of "The Blair Witch Project," it’s an inferior production. This is as much a result of stylistic and narrative choices as it is a reflection of how the horror landscape has changed in the last 17 years.

Delivers its share of cheap scares but never unlocks the door to the creepiness that would have made this is memorable movie-going experience.

It's juvenile from start to finish, which is fine if you're young, but not so great if your sole purpose in a theater is to accompany someone who's young.

As a means of non-participatory time travel and non-intellectual stimulation, it's successful. Toe-tapping and eye-rolling are equally forgivable. Rock on.

An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.

A soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for NBA properties.

With a cast of characters so large that Robert Altman would feel at home, Big Trouble manages to do a lot of clever little things and generate quite a few big laughs without wearing out its welcome.

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.

The good news first: The Alamo is probably the most historically accurate depiction yet to reach the screen of the famous siege. The bad news is that "historically accurate" does not necessarily translate into "dramatically successful."

The action sequences were often nail-biters, the lead characters were well-developed, and the dialogue was intelligent.

Redundant and unnecessary.

Instead of a satire, they give us a tired, tedious victory-for-the-underdog story, and the unevenness of Ferrell's comedy makes it less appealing.

It’s the same basic story recycled with slightly better special effects and a different cast. As lukewarm as I was toward the Roeg version, I was open to the possibility that Zemeckis could improve upon it – something he proved unable to do.

In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.