He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.

All-in-all, what we have here is classic Seagal. And that means, for anyone who isn't an admitted fan, an uninspired outing.

This is one of those movies where you stay rooted in your seat just to see how bad it can really get.

There are some problems but most are related to the uneven screenplay and not the performances of Cage or his co-star, Robin Tunney.

Ghost House is a generally well-made but ultimately unsurprising excursion into the supernatural.

Allegiant tries to cram too little story into too much time. This results in dead spots and uneven pacing.

Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.

After My Life's in Turnaround, one could reasonably expect something more than this -- a Generation X picture that takes angst to absurd levels -- from Eric Schaeffer. Unfortunately, what we are saddled with is a whiney, talky, stagnant movie that's more pretentious than romantic, and more dull than funny. If Lucy Fell trips early on, and keeps stumbling for most of its ninety-two minute running length.

Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.

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."

Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.

The movie is pretty much what you might expect from a big-screen adaptation of a once-popular '60s TV series: good-natured, appealing, and sophomoric.

As a motion picture (in the traditional sense of the term), Five Nights at Freddy’s is disjointed and ultimately unsatisfying but as part of a larger cog in a cross-platform franchise, it does everything (and more) that is expected from it.

The only arena in which Gulliver's Travels plays an adequate game is in visual effects.

Awake is short enough (about 85 minutes) that it doesn't wear out its welcome. It's not a good movie but it's silly and lively enough to keep most viewers from dozing off, even if that might be a more profitable use of their time.

It isn't difficult to identify those who will and won't like this film. There's plenty of violence, lots of fights and explosions, and the miniatures special effects work is impressive. A sizable portion of the Seagal crowd will likely be annoyed by the environmental message and the Eskimo religious practices because they interfere with On Deadly Ground's pacing. In the end, however, there's probably enough bang to overcome these flaws for Seagal's fans, if not anyone else.

This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.

Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.

The Space between Us is what it looks like when a promising premise is betrayed by a dumbed-down, hackneyed screenplay.

For a movie being touted as a sophisticated farce suitable for family viewing, North turns out to be surprisingly immature.

On those rare occasions when RV stumbles across a comedic moment that is legitimately funny, it drains the humor out of it by milking it dry.

It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.

The movie feels like a vanity production, although it's difficult to determine whose ego is being stroked by this expensive adaptation.

The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.

As a video rental, this film will probably play a lot better than it does at the local multiplex.

One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.

Unless you're among those who admit to an inexplicable admiration for Shore, Son-in-Law will rate as one of the most unpleasant, grating experiences of the summer.

By making the key participants in The Valley an Indian-American family with many traditional values and customs, Kariat emphasizes the universality of the problem.