Therapy for a Vampire has nothing to say. It just has stuff happening, none of it repulsive and all of it performed by competent actors, but that’s just not enough.

It's as if a trumped-up biopic of Andy Warhol were to appear titled "Soup.''

Harrelson and Olson make a good pair. He’s genial and bewildered and expects the best, while she’s guarded and clear-eyed and expects the worst. They deserve a better movie, but they make Champions more than bearable.

It's just a simple thriller whose goal is little more than to keep moving.

The resultant spoofery is nonpartisan, or at least vague - we never learn which of these flesh-pressing idiots is the Republican and which is the Democrat - and raucous in its send-ups of the moral, financial and sexual peccadilloes of the common political animal.

It is, in fact, good: a simple, well told story, about an impossible love decades ago, and the collateral damage that results.

Anyway, thanks to Lourd, Clooney and Roberts — who radiates an appealing groundedness and sanity, despite having been suffocatingly famous since her early 20s — “Ticket to Paradise” is a lot more enjoyable than it deserves to be.

Solondz should have called this one "So-So Storytelling."

Though the storytelling is a bit lopsided, the slapdash quality is charming overall, and the movie benefits from colorful characters and a couple of hilarious scenes.

For a big, floppy, silly movie that is in many ways the epitome of throwaway entertainment, Twins has its charms. Arnold Schwarzenegger and Danny DeVito make it seem they had so much fun making this flabby comedy that the fun becomes infectious.

A squishy-soft romance set to bouncing Italian pop. It's like a long swallow from a bottle of a very sweet wine. Goes down easy, warms the gut, leaves a film of sugar on the teeth.

The movie is more about how many things Michael Bay can smash up -- lots. That might not be a talent most people respect, but it gets through to people anyway, and here Bay does it exceptionally well.

Lottery Ticket is likable, and that goes a long way.

Fundamentalists might take umbrage, but The Ten is not so much blasphemous as it is very silly, and it lives up to the one unbendable commandment of comedy: It's funny.

The truth is, “You People” is too confused to be offensive — too inconsequential to merit that level of engagement. But it’s certainly disappointing, virtually from its opening minutes.

It would be nice to say that Blast From the Past is, but it ain't exactly. Half-blast is more like it.

My Salinger Year, which is basically The Devil Wears Prada set in the literary world, is a film that feels like it’s ready to take off at any moment, but stalls every time it tries to do anything.

The movie is unable to achieve lift-off and transcend the formulaic stuff coming out of Hollywood, despite the perfect casting of Uma Thurman.

A sequel arrives for Valentine's Day with the unwieldy title Step Up 2 the Streets. If it performs as well, watch for "Step Up 3: the Sprained Ankle."

There are many things to admire about this movie, but the main one is that it doesn't compromise.

One of the pleasures of Deterrence is that it does not tell the audience what to think.

This 76-minute Western tall tale isn't out-and-out bad, but strictly formulaic and an underachievement from the studio that made the dazzling "Snow White."

It has verve, color and energy, but there's something fundamentally bogus about it.

Exciting and nerve-racking in the moment, but empty.

Shyamalan's story is clearly autobiographical, and he imbued the tender tale with a wistful atmosphere as well as a kindly regard for parochial school, hitting some of the details just right.

An enjoyable movie with an entertaining angle on a hard-to-resist period of history.

As a Jerry Bruckheimer production and a game adaptation, Prince of Persia has every business being jumpy and sequential, and as a frivolous summer popcorn flick it has every business being inane.

As a romantic comedy, Cease Fire is more annoying than amusing.