Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.

For those who do not consider themselves to be among the Sex and the City faithful, this is a painful experience, perhaps the longest 148 minutes likely to be spent in a movie theater this year. Watching grass grow is more dramatically satisfying.

Lisa Frankenstein obviously wants to be different and it at least succeeds in that aim. However, as a story of female empowerment with grand guignol overtones, it has the great misfortune of coming out in too-close proximity to the vastly superior Poor Things.

My reaction is that I could learn a lot more about Winehouse by listening to her music than by watching this by-the-numbers sketch of her adult life.

Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly.

The movie makes a variety of changes to Jeffrey’s story to make it more cinematic, but without the kind of narrative reworking needed to streamline the material, the result feels unfocused and shapeless.

Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.

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?

One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.

The result, while not horrifically bad, is as mediocre a motion picture as you're likely to find in a multiplex this season. It's tough to hate the movie because it doesn't generate enough emotion for that kind of passion.

There’s enough suspense to keep an itchy trigger finger from changing the channel but viewers hoping for more won’t find it here.

This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.

When the Game Stands Tall is one of those cliché-riddled feel good movies that, by trying too hard to be inspirational, ends up as cloying and overly sentimental.

To work, The Professor demands that the viewer believe in Richard and, from about the 15-minute point, I didn’t.

The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".

In his latest diatribe, Moore throws everything at the viewer including the kitchen sink and hopes something – anything – will stick. Sadly, not much does.

This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.

Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.

Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.

This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.

Like much of what transpires during the course of this production, it’s just crass.

There’s ample evidence that the producers (and writer/actor Leigh Whannell) are milking a familiar title for all it’s worth – of the four Insidious films, only one has been any good and, although The Last Key may not be the worst of them, it’s easily the most irrelevant and generic.

Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.

Despite a few effective “gotcha!” moments and Pegg’s performance, the movie is too artificial and undercooked to work. Logic and consistency are often overlooked qualities in today’s cinema but when they’re ignored to this degree, their absence is noticed.

Generic and forgettable.

At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.

The movie spends perhaps too much time on the planning of the caper and too little time on its execution, which turns out to be on the underwhelming side. It’s also not terribly exciting.

"Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.