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

Uninspired and painfully familiar.

LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.

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

Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.

The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.

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.

The result is a film that runs far too long and rarely generates enough tension or genuine horror to justify its runtime—or, indeed, its very existence.

A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.

Perhaps the biggest (and most noticeable) fall-off from the first film is the lack of chemistry between Reynolds and Jackson. The two never connect. Rarely have I seen the volcanic Jackson look so disinterested; this is the closest he’s ever come to phoning it in.

Battleship has the IQ of a rutabaga and doesn't require much more intelligence than that to watch. Despite spending copious amounts of time with back story and so-called character development, it's really all about the explosions.

It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.

Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.

It's not just about a disaster, it is a disaster.

This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.

I’m not predisposed to like movies focused on hollow characters floating in their own bubble of self-absorption, whether they’re men (Entourage) or women (Sex and the City), and as soon as I realized that’s what Home Again was offering, I knew I was in for a long 97 minutes. Unfortunately, I was right.

Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.

Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.

If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.

Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo

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

This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.

Captures the essence of its TV inspiration, which is to say that it's not nearly as clever as it thinks it is. It also feels very, very long.

Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.

Labeling The Call as "relentlessly dumb" would be an overestimation of its intelligence. This is as brain-dead as a movie can be and it assumes the audience will have the I.Q. of a rutabaga.

I can’t say that Annabelle Comes Home, the third feature focused on the creepy girl doll, is the worst (because it has plenty of competition) but it’s easily among the dumbest.

It's tired and dated with too few laughs to justify the stultifying attempts at drama and the impossible-to-swallow plot contortions.

Sixteen years after her death, Princess Diana is still capable of generating interest, which is probably the only reason why this dull, pointless movie was greenlighted.