Love's Labour's Lost is flawed, but Kenneth Branagh remains our greatest living interpreter of Shakespeare.

When Pegg is breaking protocols with his uniquely ballsy aplomb, dancing like a doofus or doing battle with Venetian blinds, the film almost flies.

Mildly grisly, assaultively noisy and tremendously boring.

A wildly uneven and sloppily directed movie, full of clashing tones and undigested bits of superior films.

Gets more cluttered and confused as it moves along.

Though dazzled by its ultra-modern wizardry and the high gloss of its production values, one can also feel the globalist double standard roiling underneath the adolescent-kid fantasy plot. Jumper tells us that Americans fantasize about getting rich by stealing and going everywhere they want without restrictions; that they are materialistic, disrespect foreign antiquities, and remain blind to their own and to world history.

Revenge of the Fallen just comes off as a bratty kid showing how many swear words he knows.

Ultimately feels somewhat overprocessed, and its humor is a little too broad at times -- it probably crosses the acceptable threshold of penis and boob jokes.

No serious film fan could stomach the cheap gags and farting contests in this goofball tribute. I laughed myself stupid anyway.

Through its first two-thirds, at least, Hide and Seek does a good enough job of piquing our curiosity that the movie's ultimate dumbness is more than a minor insult.

A time-waster with some enjoyably empty zip.

A vehicle for teen singing sensation Mandy Moore. As vehicles go, it's an Edsel.

It's pretentious highbrow trash, but as far as that goes it works pretty well.

Trying to figure out just what went wrong in the creation of a movie as dreadful as this may ultimately be as futile as trying to ascertain what might lie on the "other side" of a black hole.

It's kind of endearing and kind of asinine.

Van Helsing wears its price tag on its ruffled lamé sleeve. And yet it gives off an aura of what I can only call lavish cheapness.

It might be nice if Ghosts of Mars had more to offer than snappy repartee and shameless gore, or if it could borrow a little narrative tension from its Alien Chain Saw forebears.

Didactic, clumsily directed and abysmally acted, never lets go of its intellectualized approach long enough to deliver any real kinetic thrills.

Identity Thief reaches impressive heights of laziness and idiocy.

A pretty good example of how the studios have taken over the junk that used to be left to the exploitation hacks. The hacks here have millions to work with and the end result isn't nearly as much fun as a cheap, gross horror movie can be.

The plots vary widely in their watchability -- from mildly amusing to stupefyingly godawful.

For all the filmmakers' talk about reinvigorating the franchise for a new generation, and all their attention to technical details, this is a sloppily conceived remake with no passion for the genre or this story behind it, a movie that assumes its audience is brain-dead and likes it that way.

The whole movie is overbright, overloud, antic, telling us the characters and animals are endearing rather than allowing them to reveal themselves as such.

An eminently defensible light entertainment, peopled with characters that are easy to like and care about.

The bitterness of her new comedy, Loser, comes as a shock. It's not a mean-spirited movie.

The movie is so thoroughly lousy. It's loud, brash and obvious, full of car chases and explosions and gunplay.

Startlingly inept from start to finish -- it's atrociously written, poorly shot and edited and fatally unfocused.

Isn't particularly offensive, except in its total mediocrity.