Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.

The root problem with The Wolfman is that it's a hybrid.

It's watchable, but barely.

If the mandate for any new interpretation is to offer something fresh, one is left wondering what this version claims as its justification for taking up over two hours of our time.

If ever there was a production that embodies all the negative Masterpiece Theater qualities, this is it.

The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.

This could easily go down as the year's best example of solid acting in a wretched motion picture.

Be advised, however, that the idiotic ending doesn’t redeem the uneven middle portion.

The Edge comes across as a parody/adventure without a clear sense of identity.

Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.

Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."

The main problem with Coach Carter can be summed up simply: too much sermonizing.

A thrill-less thriller that uses gore to obfuscate its inability to generate tension, this motion picture has the profile one might expect from a direct-to-video release.

As disaster movies go, Greenland is neither exceptionally good nor exceptionally bad.

Although For Love or Money is a marginal film by any standards, it isn't unwatchable, and it does fit nicely into the "date movie" niche. I can't honestly recommend the movie, but it isn't completely without redeeming qualities.

It's an orgy for disaster porn devotees.

This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."

The movie may attract some attention from horror/thriller fans eager for a post-Halloween fix but this is no better than a direct-to-video production masquerading as a theatrical release.

At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.

In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.

Unfortunately, the final act (the Mexico sequences) illustrate where to take a ghost story if you want to exchange old-fashioned horror for a grilled cheese sandwich.

The movie doesn't come close to the family-friendly comedic pseudo-incest flirted with in "Back to the Future." That, apparently, is deemed too unsettling for today's audiences. So 17 Again none-too-cleverly tap dances around these issues.

The Lazarus Effect begins with an intriguing premise then proceeds to squander all the early goodwill through a slow, inexorable descent into cheap horror gimmicks.

The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.

The problem is, the characters don't grab me, and the story meanders too much.

On balance, I think I'd rather have seen Rocky 15.

At best, this film is strictly cable fare.

Dennis the Menace is basically innocuous -- creatively barren but offering the kind of light, undemanding entertainment that the under-ten crowd finds so appealing. Most children will get a kick out of it, although adults roped into accompanying their offspring may find themselves yearning to escape through the nearest exit.