Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.

There’s nothing in this third Fantastic Beasts installment that will grow the audience. In fact, the plodding pacing offers little to excite anyone outside the dwindling core fandom.

It’s a 99-minute commercial designed to drive sales of merchandise. Okay, it’s not as bad as "Super Mario Brothers," but that’s damning with faint praise.

"Compelling" is a word one could apply to Jobs - he was a magnetic figure - but it doesn't describe this movie. "Average" might even be a stretch, and that's something of an insult to the man whose story it tells.

Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.

Call Project Almanac a "shaky-cam special", and it's a damn shame. The resultant production, both shaken and stirred, transforms a potentially entertaining pulp time travel story into a misbegotten exercise in frustration.

Never boring. It is, however, frustrating.

Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.

What we get is a mediocre remake of a mediocre original – not exactly must-see cinema.

A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.

There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.

The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.

It’s a surprisingly flat bio-pic of King’s life between 1972-73 with little attempt to make Riggs into anything more than a two-dimensional caricature/foil.

It's a muddled, meandering affair without a thesis or a point to prove.

The root problem of The 33 is that, in attempting to do too much, it succeeds at too little.

The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be.

The resulting finished project is a series of skits performed by famous people doing favors for a friend, and it works about as well as one might expect from such an endeavor.

About as frightening as Walt Disney's Haunted Mansion.

The humor is typically sitcom-ish, tending more toward sophomoric gags than genuinely funny material.

Designed with Underworld fans in mind. Others need not apply.

The Clone Wars is the last nail in a coffin that has been propped up ever since George Lucas sold his creative soul in the quest for a few more pieces of gold.

This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.

As a movie, On Stranger Tides would have to be considered a failure. The story does not engage, the characters are stick figures, the action sequences are perfunctory, and the whole enterprise reeks of being a money-grab.

The movie consists of a bunch of random events and, if you pause long enough to consider things like plot and motivation (something you’re not supposed to do), it becomes evident that most of the movie doesn’t make any sense. Add to that an anti-climactic ending, scattershot editing, and too many extraneous characters and the last Star Wars movie is the most bloated and least satisfying of all the main-line adventures.

There are lengthy stretches during this movie when it's deadly dull. This is the kind of film that's ideal for DVD viewing. Judicious use of the fast forward button will greatly increase The Ten's appeal.

This time, it's not because mainstream movie-goers in this country lack taste but because the film isn't worth buying a ticket to see. Mr. Bean's Holiday is no vacation.

The result is a poorly-focused motion picture characterized by limp satire and capped off by a final fifteen minutes that could send half of the audience into sugar shock.

From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.