Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, "The Cooler" and "Running Scared."

Echelon Conspiracy is a more evocative title than a movie this stupid deserves.

Regardless of how low your expectations are regarding Fired Up!, it will still surprise you, and not in a good way.

If all you're looking for is breasts, blood, and gore, this film hits pay dirt. None of the killings are terribly inventive, but they are plentiful, and why bother being devious when axes, machetes, knives, and pointed sticks will do the job just as well?

In the movies, romantic love conquers all. In reality, it's a little different, and that's what Gray is trying to show.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

While "Love, Actually" succeeded in providing well-developed characters in (mostly) interesting situations, He's Just Not That Into You is often flat with subplots that feel rushed and/or contrived.

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

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.

Unfortunately, while Fanboys has moments of success, it is mostly a middling road picture that doesn't do a lot more than any average, forgettable entry into the tired genre.

It has been a long time since I came as close to walking out of a movie as I did with Confessions of a Shopaholic. Not only did I find this production to be irritating, unfunny, and lacking in entertainment value, but I found its underlying slavishness to a culture of consumption to be morally repugnant.

The International possesses the look and feel of a thriller, but not the heart or soul of one.

The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.

If there are any "24" fans who have wondered what the TV series might be like if Liam Neeson replaced Kiefer Sutherland, Taken provides an opportunity to have that question answered.

The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.

The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists.

Inkheart looks good and is well acted but, in the end, it left me indifferent.

For those with an adventurous and offbeat cinematic appetite, Chandni Chowk to China offers its shares of enjoyments, although there are plenty of "downs" to go along with the "ups."

It's not bad enough to walk out on but neither is it good enough to walk into.

Although Paul Blart is by no means great cinema, there is amusement to be uncovered as we watch Kevin James bumble his way through actions oh-so-similar to those navigated with more blood, sweat, profanity, and dead bodies than Willis. Too bad there's no "Yippekayay...."

It represents a missed opportunity on every level. As a black comedy, it fails. As a satire of the bloated wedding industry, it fails. As a drama about friendship triumphing over all, it fails.

Maybe approaching The Unborn as horror is the wrong approach. Perhaps this should be seen as a comedy. It is quite possibly the most egregiously laughable high-profile supernatural tale since Roman Polanski and Johnny Depp impaled themselves on "The Ninth Gate."

The battle scenes are well choreographed and contain enough uncertainty to make them genuinely exciting, but one would expect no less from a man who has overseen Civil War engagements (Glory) and Japanese strife (The Last Samurai).

Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.

Revolutionary Road is a fine motion picture, but it's not a good choice to lighten a burden or brighten a night. It rewards in the ways that only tragedies can.

There are good things to be said about The Spirit, but not enough of them to outweigh the bad.

There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.

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."