An overwrought drama.

This thick, leaden production starring Bob Hoskins and Patricia Arquette - and an uncredited Robin Williams - has a sophomoric air, even though it faithfully follows the book.

The concept might have worked well on paper. But on screen, at least how Chase Palmer has directed and co-scripted it, those clashing elements exert weak gravitational pull.

This film is like cynicism transformed into celluloid, a movie made without love and with no vision, except of dollar signs.

Something so sappy, no one would believe me if I told them. It has to be seen to be disbelieved.

The script is as bland as they come.

It's a shame Arnold is stuck on the loudmouth clod schtick, because there are moments he's downright pleasant on screen. But in Carpool, these moments are kept to a minimum.

Hao doesn't seem to have a point of view. Mongolian Ping-Pong is episodic and meandering, with several tedious stretches.

Smith deserves a 21st century reassessment, but you won’t find it here.

The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.

There's no attempt at humor in Dead Silence, but the biggest sin in the film is the lack of scares.

Aquaman continues to revel in the outdated 1970s superhero ideal that mankind is unquestionably worth saving. Add to that some awkward dialogue, a poorly conceived visual effects palette, and a soul-crushing and bladder-crushing 139-minute run time, and you have another disappointing entry in the DC Comics cinematic universe.

In execution, the film is all sidekicks and sight gags, with little story cohesion or purpose.

It turns out to be just as bad as any routine French romantic comedy - illogical, inconsistent and sloppily written, a charmless, tasteless, witless waste of time.

American Reunion isn't a total wash. Its one saving grace is Eugene Levy as Jim's dad.

A complete washout, a joyless, pointless and fundamentally idiotic enterprise.

No matter how you dissect it, Clash of the Titans will never, ever be a serious motion picture.

The film is glossy, but awful. Frenetic, but awful. Expensive, but awful. ... And awful.

Isn't some sober history lesson that bogs down in long speeches and tedious facts. It's about style, it's about fashion, it's about rock 'n' roll busting out in medieval France.

Features an exceedingly dapper Richard Gere in a series of nice suits and handsome close-ups that serve no purpose other than to remind us how exceedingly dapper Richard Gere looks in nice suits and handsome close-ups. The rest of the movie registers as a loss of: time, money, talent and logic.

Welcome to Marwen does not work as a drama of addiction, and frankly it doesn’t work as a celebration of Hogancamp’s creations, which work best as stunning still-photo images.

One could criticize A Night at the Roxbury for being a comedy that provides not a single laugh. That would be too easy.

The experience of seeing Causeway isn’t what you’d imagine while trying to decide whether to watch a 92-minute movie about a veteran’s slow recovery. It feels more like moving in with her — invisible — for weeks, and watching as she makes a sandwich or stares into space. That isn’t drama. That’s practically audience abuse.

Day Shift pauses for a promising concept every now and then before zooming off to its next helping of amped-up gore. The graphic violence is never terribly disturbing, mostly because it’s rendered with cartoonish exaggeration.

No matter how well made, well acted and well intentioned, Lying Dingbat Procrastinator movies are excruciating to watch. Case in point: People Like Us, a film hell-bent on dragging its protagonist (and, sadly, us) through the LDP narrative playbook.

Just an odd mess of a movie. That you feel anything at all is a tribute to the acting talent of Dinklage and Goggins, who occasionally make us care.

If Zabeil didn’t want to deliver a formula picture, he needed to come up with something better than the formula.

Standing Ovation is an innovative film in the sense that every minute or so it comes up with a different way of being annoying. Moreover, it often goes for a layered effect, in which it's annoying in two or three ways simultaneously.