A cut below its predecessors.

The film feels sleazy and nasty --- but without the pulp kick of filmmakers who know how to do sleazy and nasty.

The latest example of J-horror to reach our shores, Takeshi Furusawa's Ghost Train demonstrates that the increasingly tired genre may be in need of a serious overhaul.

More dumb than funny.

Unfortunately, the gags start to wear thin shortly around the 15-minute mark, not to mention the fact that they pale in comparison to the real-life indignities endured by the members of the "Jackass" crew.

Lacking even the galvanizing action sequences that would have compensated for suffering through its formulaic plot, this is a thoroughly forgettable exploitationer that will not enhance its stars' resumes.

Lackluster and decidedly old-fashioned (in the worst way).

An obvious "Ocean's Eleven" knockoff, minus any of that franchise's hip sensibility.

While the CGI effects are undeniably impressive, the laughable story line, risible dialogue and cheap humor (most of it involving a hapless zoo security guard) seriously detract from the fun.

The script by Josh Stolberg has no fizz. It's possible to sit for half an hour without cracking a smile. Part of the problem is sheer repetitiveness; another problem is that Stu's leering remarks are repulsive rather than endearing.

Dramatically, the film is a shambles, with whiplash-inducing lurches in tone and pacing that make it seem as if portions were edited out of sequence.

Koechner tries hard, but ultimately scores few laughs except for when, like Ferrell, he bares his comically less than toned, fleshy body.

Paints itself into a corner, creating a static situation in which everyone is either stymied or wracked by indecision, leaving the movie free for its two male leads to wallow in self-pity, remorse and bad behavior.

The elegant looking, nostalgic film is undermined by inadequate character development, amateurish acting and sentimental self-regard.

Poor writing, an indifferent production and sincere but often wooden acting make "Season" one big strikeout.

The film isn't just not funny, it is off-putting.

If "This Christmas" served up a crowd-pleasing portion of yuletide "Soul Food," then The Perfect Holiday offers dried-out leftovers.

Lacking coherence and suspense, the picture is likely to attract a cult following while disappointing Coppola's fan base.

As writer, Allen offers lazy plotting, poor characterization, dull scenes and flat dialogue.

Improbable and generally unfunny comedy.

It plods along at a sluggard's pace through a weak premise with crude execution and even cruder characters to arrive at an unearned sentimental ending.

In short, No. 4 is one big snore.

Sacrifices the quietly creepy qualities of the original in favor of ramped-up horror film techniques that by now seem distressingly familiar.

Rudd is an underappreciated comic actor, and his line readings are the best thing in the film, but the bland role barely taps his talent. Amid the rest of the cast's one-note posing, his scenes with a parrot have a spontaneity and wit otherwise in short supply.

A soggy, listless affair, this would-be fun-in-the-sun sunken-treasure frivolity starts taking on water from the get-go, thanks to drawn-out exposition and languid pacing.

What is puzzling is the incompatibility of the two leads with their roles. Raven is supposed to be a high school senior on a road trip to check out prospective universities. But she acts like a adolescent on a sugar high during a weekend sleepover.

Even if the movie takes you to some dark places you would rather not visit, at least you will remember the actors who navigate the tortured journey.

Genuine scares are few and far between, and the climactic explanation for the ghost's appearances comes as something less than a revelation.