This is as pure a narrative-based film as one is likely to find; the men and women populating 6 Days exist primarily to move the story along.

The 2011 version of Conan the Barbarian looks cheap and feels rushed. The few good elements are dwarfed by a generic, nonsensical plot and shoddy storytelling.

This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.

It's the Judd Apatow syndrome and there are times when the blend of romance and raunchiness threatens to curdle. In the end, however, the "love conquers all" mentality wins out.

Various subplots are given short shrift and the whole thing feels more like a Cliff's Notes version of a longer piece than an actual finished motion picture.

The Watch is a studio turd marinated in eau de skunk that stinks worse than week-old fish.

Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.

The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.

It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.

Whatever the reason, the waning months of 2014 have brought us the follow-up to 1994's "Dumb and Dumber", but the lengthy gestation period hasn't resulted in an appreciably upgraded experience.

The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.

Sadly, about the nicest thing I can say about What Happens in Vegas is that I didn't hate it - although I suppose that's something.

The breath of fresh air, to the extent that one can be identified in the staleness of this recycled refuse, is John Cleese.

There are a lot of other bad things I could talk about -- the overblown score, the silly portrayal of the police, the bad dialogue, the poor lighting in almost every scene -- but I think it's pretty clear how few virtues Striking Distance has. In fact, one of the movie's few positive aspects is that it's too loud to fall asleep during, which is surely what most people would do if their attention was based on story and character.

Overlong and at times tedious; the taste is gritty and lingers unpleasantly.

I suppose there are reasons to see That Darn Cat, but only if you're under twelve and desperate, or accompanying someone in that category.

I'm almost embarrassed to admit that I liked parts of Bordello of Blood -- it is, after all, a pretty sick motion picture. Alas, the sense of bloody good fun gets stretched too thin. There's not enough material here to sustain the running length, and the film goes through dead patches (most of which occur when Miller isn't on screen). All of the stuff with Chris Sarandon is a waste of time that should have been relegated to the cutting room floor -- except that would have trimmed Bordello of Blood to an unacceptably short sixty minutes or so.

Johnny Mnemonic is brash, flashy, and loud, but it lacks a few key ingredients -- namely heart, soul, and intelligence.

It's a depressing experience to view something like Saw IV. It's not just the soullessness that's dispiriting, but the lack of invention. When a movie does little more than repeat what its predecessors accomplished with grotesque effectiveness, it's past time to tip this corpse into its grave and bury it.

The strength of Push is its relentlessness. The movie doesn't pause for anything and, when it provides exposition, it does so without bringing the action to a grinding halt.

At times dull and plodding and at other times cartoonishly silly, Kin rarely works and, when it does, it’s often for the wrong reasons.

A godawful teen-magnet utterly devoid of entertainment value beyond the lure of its popular, photogenic cast and the dubious attraction of playing the “guess who gets it next” game. The little bit of cleverness that ends the film comes far too late to save this movie.

The problem with The Affair is that once the World War II segments have ended, the movie loses its momentum and ability to balance both sides of the romance.

By cramming far too much material into 114 minutes, The Huntsman: Winter’s War feels rushed and incomplete. It doesn’t help that the screenplay is at times awful, forcing accomplished actors to recite excruciatingly bad dialogue while maintaining a straight face.

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

Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.

The promise of an intriguing premise results in expectations that the film, which rarely diverges from the familiar feel of a post-apocalyptic road movie, is unable to capture.

Plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy.