A hard-to-swallow drama about sibling rivalry, mental illness, and bad therapy. Cobbled together using clichés and contrivances, Brian Shoaf’s feature debut perceives mental illness more as a personality quirk than a sickness and treats it almost as a kind of magical realism.

The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.

Lacks both a focus and an edge, making it an amorphous mess.

Serenity is a peculiar, niche production with minimal mainstream appeal. It will find its greatest favor with those who value oddball movies that take chances (regardless of whether they work or don’t).

As preposterous wannabe Hitchcockian thrillers go, this one is adequate.

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

Yes, the film is interesting, but it doesn't work.

One can give Ice Cube props for attitude, but not much more.

For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.

Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.

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

Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."

Miracle at St. Anna is overlong and poorly focused. It tends to meander, the military context is not well established, and too much time is spent on interaction with underdeveloped secondary characters.

Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.

The result is an atrociously unfunny, unromantic, and unpleasant product.

There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.

It may work for those in search of a good cry but as a story of a damaged woman to touch the soul, it misses the mark.

The problem with all of this is that Are You Here is less than two hours long and, to effectively explore issues and themes of this magnitude would require at least a full season of a TV series. So we're left with half-developed characters and quickly sketched relationships.

Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.

My advice is to wait and see this version of The Beverly Hillbillies the same way that you've seen all that's gone before -- on the small screen. And let's hope that when the closing song chimes in with the familiar "Y'all come back now, hear?", it's not a reference to a sequel.

More galling and tedious than funny.

A genial and unremarkable comedy with its share of tepid laughs. It's a significantly weaker offering than its edgier, livelier older brother.

From start to finish, A Life Less Ordinary feels like a group of sometimes amusing, sometimes clever, and sometimes tedious skits forced to fit together.

Asian horror remakes are typically not screened for critics, and Shutter is no exception. The studios know what they have: watered-down, lifeless shells of motion pictures devoid of characters, drama, or anything remotely resembling horror.

Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.

Considering the hype, it’s a disappointment. It might have been better to populate the movie with three unknowns and spend a little more on the screenplay. You can have The Rock, Wonder Woman, and Deadpool, but it doesn’t mean much if they don’t have clever things to say and meaningful things to do.

Insultingly, Frankenheimer concludes the movie with a short sermon about the fine line that separates man from beast. If the director actually wanted to get this point across, he should have worked it into the film rather than tacking it on as an afterthought. It is, after all, an integral aspect of the source material. That it has been so thoroughly excised from the main plot isn't The Island of Dr. Moreau's only problem, but it's symptomatic of the flawed mindset that went into planning this occasionally incoherent and ultimately disappointing motion picture.

As for the movie itself, it’s not worth much ink. A kluge of bad science and worse science fiction clichés, it tries to be atmospheric and scary but succeeds only at being frustrating and tedious.