For 60 minutes, the movie appears to have found the right tone and approach, then everything goes wrong. It's rare to see a production that starts so strongly finish so weakly.

By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.

In the end, I was more letdown by the movie’s inability to draw me in than impressed by its offbeat premise.

This movie isn't bad just because it follows a formula slavishly but because it does so without verve or passion.

This is far from the worst horror movie I have seen. In fact, it’s not even the worst Exorcist movie. No, it’s not scary. It lacks suspense and tension. But the first hour isn’t half-bad and there are isolated moments when Green seems to be onto something.

Although Paul Blart is by no means great cinema, there is amusement to be uncovered as we watch Kevin James bumble his way through actions oh-so-similar to those navigated with more blood, sweat, profanity, and dead bodies than Willis. Too bad there's no "Yippekayay...."

I suppose it’s possible to argue that The Darkest Minds can be enjoyed for what it is. Unfortunately, that “what” refers to something incomplete.

Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.

The movie wallows in remorse. Not only is the main character paralyzed by it but the filmmakers seem to believe that every Caucasian member of the audience should face up to White Guilt for the way in which the Industrial World has encouraged unrest in Africa so resources could be strip-mined. How's that for an uplifting action movie premise?

This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.

A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.

The Other Woman ignores dozens of potentially edgy possibilities to tell the most banal story imaginable - and to do it badly.

A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.

The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.

Tammy is a road trip movie and, like many road trip movies, it embraces a meandering, aimless tone. It's often said for films of this sort that it's the journey that matters, not the destination. Unfortunately, in this case, neither is worth the price of admission.

Aside from the inept "August Rush," there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.

It’s fast paced but goes nowhere new and the film’s “bigness” makes it hard to remember what an amazingly unexpected treasure The Curse of the Black Pearl was.

here’s a dissonance between the film’s darker subjects and its seeming desire to offer something uplifting at the end. The coda feels dishonest and makes it as difficult to root for the film’s success as it does for the main character.

When compared to the recent influx of musical biopics, this one sits somewhere in the middle; there is too little depth to elevate it to the top, but the soundtrack is too strong to let it sink to the bottom.

The fact that Reign of Fire does what it sets out to do is a cause for celebration amongst those who like special effects-laden action movies featuring fire-breathing monsters and mayhem.

The only thing of interest is the zany, over-the-top and against-type performance by Dennis Quaid, who shows what happens when “ruggedly handsome” gets an infusion of a diabolical Dirty Harry.

Quickly causes viewers to lose patience, then interest.

The Lucky One delivers what's expected from it: a heartfelt romantic melodrama with attractive actors in the lead roles; gauzy, moody photography; a saccharine score; and all the heat that a PG-13 production can muster.

After the Sunset is a mess, but it's a breezy, fun mess.

Those who like stale, formula-driven comedies with sickeningly-sweet happy endings, not to mention unbelievably-contrived plots, will find Sister Act 2 an example of good entertainment.

Like Nicolas Winding Refn with The Neon Demon, Tipping approaches it all with deadly seriousness, convinced he’s delivering a profound statement when in reality he’s just serving up an overwrought, futile mess.

The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.

The short running length is a benefit because it means that Mile 22 doesn’t stick around long enough to wear out its welcome – a too-often evident problem in films of this sort.