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

Manages to mix in a few good gags with the requisite gore.

The reason Sherlock Holmes fails at least as often as it succeeds is because more effort and attention was lavished upon the concept than upon the script. Given a worthy story, Downey's Holmes might have been memorable. Here, he's an interesting character in search of a worthwhile story.

Eventually, it had to happen: a computer-animated dud.

Casting turns out to be the best thing Bezucha could have done for this uneven screenplay. The pair makes Let Him Go worthwhile even when the storyline is poised to let us down.

Old School is exactly what director Todd Phillips intends for it to be: low-brow, moronic to a fault, and occasionally side-splittingly funny.

A movie assembled from diverse pieces that don't quite match. It's the cinematic equivalent of a patchwork quilt.

There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.

By laminating Walls’ story with a Hollywood sheen, the narrative climaxes in an artificial and contrived manner. The penultimate scene is so obviously scripted that its inclusion is damaging. That’s too bad, because there are some effective individual scenes earlier in the proceedings.

While Malice won't win any awards, it's a cut above the average. The result is a curious mixture that provides one-hundred minutes of entertainment.

Unlike its predecessor, this is not a light, mystical romance, but a somewhat muddled narrative that ends up resembling an offbeat action/adventure movie. It's still a film about issues -- humanity, the soul, time, and Nazism -- but it lacks many of the "art" aspect of Wings, relying more on straightforward storytelling.

For most of the movie, Cody and Reitman jape at her until, in the last 20 minutes or so, they attempt to turn her into an object of sympathy. It doesn't work and, on balance, neither does Young Adult.

She Hate Me is a mixed bag, but at least it's interesting and almost never boring.

Most of the film is dull and soporific. Breathtaking photography without emotional involvement can take an audience only so far.

Scott is by no-means a “can’t miss” filmmaker. Although this is far from the worst films he has made, House of Gucci is among his most disappointing. With such a strong cast and the pedigree of a high-profile true crime story, viewers are likely to expect something with more octane. But the movie is too long and starts to spin its wheels long before it reaches its destination.

Allen's first mistake is turning this rivalry into a May/December romance. His second misstep is "converting" Stanley, thereby neutering the delightfully acerbic quality that characterizes his and Sophie's early interactions.

In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.

This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.

The movie is pleasant but unspectacular, and at times it borders on being too cute.

Bug is creepy and hard to dismiss, but it's not a lot of fun and its weaknesses leave a bitter aftertaste.

The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.

The film embraces the value of pursuing one’s dreams while extolling the virtues of haute couture. My guess is that it will appeal strongly to the Downton Abbey faithful.

Despite a threadbare screenplay featuring overfamiliar motifs, the movie gains traction as a result of a committed, riveting performance by Evan Rachel Wood.

The "nature" aspects of Bears are undercut by the need to turn this into a live-action Disney cartoon, complete with cuddly heroes and nasty villains.

Individual scenes are entertaining in their own right, but the production as a whole is a lumbering mess.

One of the most curious aspects of If I Stay is the way it rigorously ignores religion and spirituality. With the exception of an undefined "white light" image that recurs, the movie never once mentions "God" (as an entity). For a movie that is so much about death, it seems like an odd omission.

Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level

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.