It falls short on character definition, emotional involvement, narrative drive and originality.

In the absence of anything truly original in the screenplay he co-wrote with Juliet Snowden, director Stiles White vainly attempts to ratchet up the tension with a series of cheap jump scares fueled by loud noises that are the cinematic equivalent of shaking hands with someone wearing a joy buzzer.

This is a movie drowning in flamboyant design elements and in need of a stiff shot of enchantment.

This dour, uninspired, Hispanic-themed variation on the profitable "Step Up" dance movies is unlikely to similarly rouse teens.

Nothing is bleaker than failed black comedy, which this is.

The action that follows is as broad and unconvincing as the characters involved: director George Ratliff manages to turn even dignified Ciaran Hinds into a ham.

Never gets off the ground, trotting out the same predictable twisting heads and psycho-babble without a whiff of originality or discernible visual flair. As a result, the would-be thriller proves as scary and unsettling as a slab of devil's food cake - only considerably less satisfying.

Most of the major events in Reagan’s life are covered, but few of them are recounted in an incisive fashion.

A thriller so fixated on red herrings that viewers may stop caring if anyone's really in danger, Gone is diverting but unlikely to linger long in theaters.

She's (Milla Jovovich) constantly being besieged by a seemingly never-ending series of monsters, and we -- at least every couple of years or so -- are forced to sit through yet another installment of the mind-numbing series.

This latest installment of the horror movie spoof franchise is mainly notable for its Charlie Sheen/Lindsay Lohan cameos.

A gore fest aimed at indiscriminate action fans. Those interested in learning more about goings on in medieval history will probably find the splatter tedious and off-putting.

This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.

Fails both as historical re-enactment and as action-flick thrill ride.

Embalming the simple and simplistic yarn in an amber glow that is all but suffocating and banishing from it any traces of humor and spontaneity, director Scott Hicks serves up this treacly tale with absolutely no trace of self-consciousness about the material's cliches or simple-mindedness.

Not so much blasphemous as just outrageous for the hell of it.

Director/screenwriter Stuart Beattie, adapting the graphic novel by Kevin Grevioux, employs a strictly humorless, gothic approach to the material that makes one long for the satirical touches of James Whale, let alone Mel Brooks.

As leaden as the bullets whose random behavior it revolves around, Géla Babluani's 13 fails to recapture the sweaty tension of his original 13 Tzameti, a French import that reeked of style and first-timer ambition.

A teens-in-trouble thriller with barely enough momentum to make it to the end credits. Performances and script are made-for-cable grade.

It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.

Onscreen, it somehow manages to be at once wildly overblown and terminally boring.

A creaky haunted house that, once the big twist is revealed, makes very little sense at all.

The good news is that it will be a good 15 years before we're forced to encounter the character again in Spring. Maybe by then he'll be less of a downer.

Unfortunately, John Moore has directed these sequences in a way that makes the incidents look so far-fetched and essentially unsurvivable that you can only laugh.

The film’s first half is a slog as Chism sets up the minefield for Wade, with every (fully visible) mine certain to explode.

They just don't make 'em like this anymore, and it's a good thing, too.

Belying its ominous title, Age of Extinction barely skirts the idea that humankind and planet Earth are about to be totally annihilated. What is extinguished is the audience's consciousness after being bombarded for nearly three hours with overwrought emotions...bad one-liners and battles that rarely rise above the banal.

The "Dexter" star gives it his all in this indie comedy about a 35-year-old unemployed man coping with various romantic and life crises, but by the end of this terminally cute effort you'll wish that he just stop moping and kill somebody already.