A remarkable treat. It contains information about the writer heretofore unknown, and though it’s a dramatic feature and not a documentary, it claims to tell the truth, without embellishment. Even better, it was written by someone who saw the events depicted firsthand.

The ridiculous complications might have worked if there had been an awareness of how absurd they are.

A formulaic, predictable and yet reasonably likable picture.

Standard-issue slasher pic.

Baywatch should have been a lot more fun.

An over-the-top, rollicking, candy-colored raunchfest.

So desperate and silly that here and there, it's a lot of fun.

Chan, though, is very good in an all-dramatic role as a rebel general. There's lots of battle scenes, well-filmed, but only one martial arts scene. It seems out of place, but is most welcome nonetheless.

Nia Vardalos has such a warm, alert energy that’s impossible to hate My Big Fat Greek Wedding 2, even as it’s impossible to like it, even a little.

Considering what the filmmakers had to work with, and the fact that it has all been done before, Freddy Vs. Jason isn't bad. And sometimes not bad is almost good.

It's instantly forgettable, but smooth fun most of the way.

Gimme Shelter is an attempt at something grand, and though it doesn't get halfway there, it covers some ground.

It looks like an exploding art project - but fails to capture the books' childlike voice and charm.

The film does thoroughly succeed in one important regard: offering a coherent, viewer-friendly account of the life of Jesus Christ.

Serenity is not just awful. It’s amazingly awful, which means that very few people will want to see it, but some probably will. People who can enjoy laughing at something made in dead earnest, who can appreciate, in a perverse way, a phenomenal, jaw-dropping mess, may find an experience close to pleasure in this strange, misbegotten, three-headed freak of a movie.

There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.

The no-sweat clunkiness of the detective plot becomes kind of charming.

This sometimes funny but ultimately convoluted movie would have benefited enormously from letting Lawrence loose.

Your heart will go out to Shlain, who clearly adored her father. But other parts of Connected may remind you of an Al Gore lecture.

The movie’s overall aura of cheapness, the cast of unknowns and the half-baked theology all call to mind the low-budget horror of the 1980s.

In “Atlas,” Jennifer Lopez does everything she can to act her way toward a good movie. Unfortunately, she can’t do it well enough to make a difference.

Two hours of senselessness and overkill, decked out in lurid, bad-trip colors.

How bad does it get? How far past the basement can one elevator go?

This is a movie in which whole sequences consist of nothing but guys fighting stiff computer images. Such scenes would be boring even were they done well, but these scenes aren't done well.

It represents 2 1/2 of the longest hours on record, a jumbled botch that is so confused in its purpose and so charmless in its effect that it must be seen to be believed, but better yet, no. Don't see it, don't believe it, not unless a case of restless leg syndrome sounds like a fun time at the movies.

A limp, slow-moving and desperately unfunny comedy.

Sometimes excessiveness and implausibility are virtues in disguise. Movies this enjoyable don't come about by accident.

Until its final seconds, Seven Days in Utopia is just a piece of gee-whiz, G-rated, nicely shot evangelism outfitted as a golf movie. Then it cuts away at the pivotal moment that's normally the life's blood of inspirational sports dramas - and becomes something vastly more obnoxious.