There's insufficient suspense in the life-or-death stakes, sketchy plot detail in the gang clash that triggers the action and too little ambiguity in the intercharacter dynamics.

Cage supplies energy but no depth in his portrayal of a disillusioned knight. Ditto that for Perlman, who never feels comfortable in the sidekick role so he pretty much goes through the (exaggerated) motions.

A short, dour and stodgy creature feature with average 3D effects that draws on so many film influences from westerns, action adventures and sci-fi tales that what fun there is comes from spotting the many sources.

A wedding comedy that grows increasingly unfunny with each passing minute.

The deadening and sometimes laughable litany of shouted military-style dialogue eventually pummels into submission any hope for fresh creative angles on this well-worn format.

The central battle between fearsomely independent corporate mavericks and hostile big government has been updated in a half-baked, unconvincing way that's exacerbated by button-pushing TV-style direction, threadbare production values and blah performances except for that of Taylor Schilling in the central role.

Doesn't so much borrow from other movies as settle into a comfort zone of raising provocative questions regarding love, commitment and marriage only to dismiss them with a brush of a hand as so much dandruff.

Bound to disappoint diehard Winters fans while leaving the uninitiated baffled, Certifiably Jonathan doesn't begin to fully suggest the range of the comedian's brilliance and lasting influence.

Won't likely disappoint fans of men-in-drag comedy but doesn't offer much that's original or funny.

Director Will Cannon keeps the energy level cranked but over-amplifies the dramatics to shrill effect, resulting in an unfortunate tone that undermines the serious-minded intent.

Levesque, soon to be seen in an action movie, "Inside Out," that is probably more suited to his talents, is a reasonably engaging and likeable screen presence.

Squanders its timely illegal alien theme with a predictable and unconvincing story line that makes "Green Card" seem a classic by comparison.

For all the digitally enhanced Smurfness, the results are remarkably mirthless.

An appealing cast and well-executed mood of foreboding would seem to hold some promise commercially, but the script grows silly in the third act, letting the picture down.

Michael Dowse's aggressively unfunny film which seeks the lowest common denominator in nearly every scene.

This time, tedium sets in early and never loosens its grip. The gags are obvious, predictable and dull.

With a homicidal tire as the main character, the film isn't scary enough to qualify as horror and not nearly as amusing as a black comedy should be.

Even as she is the center of attention here in a double role, the jury is still out on Gomez's bigscreen potential; she's not very appealing or magnetic here, nor does she display any particular comic gifts for this sort of broad fare.

Although one would never have expected to find her in a film like this, Dawson, by dint of enthusiasm, is the only actor who rises above the material with her dignity intact.

The Change-Up bravely attempts to revive the dormant subgenre but it's a lame effort that grows increasingly frantic and foul-mouthed as the realization sets in that the gimmick isn't working.

Fleischer stages one chase scene with a bit of comic flair but otherwise never locates that mix of macabre action and comedy that at least made "Zombieland" amusing.

3D swashbuckler wields a disappointingly blunt sword.

Despite the A-list talent involved, this haunted house tale is a thrill-deprived, inert misfire.

Immortals is not only entirely without humor, but is dominated by a lot of huffing and puffing, thunderous self-importance and windy Socratic quotations about the immortality and divinity of men's souls. You just have to roll your eyes after a while.

Singleton's action thriller has a decent sense of propulsion but, after a faintly intriguing start, the convoluted plot mechanics overwhelm everything else, making you feel you're watching a detailed blueprint for a movie, and an increasingly far-fetched one in the bargain.

This sophomore feature is a stumble backwards in terms of maturity.

Sporadically funny though less effective at selling its melancholy undercurrents.

On any number of levels, "Devil" is troublesome at best, offensive at worst.