Excruciatingly incoherent.

So narratively old-fashioned it creaks.

The film doesn't come within spitting distance of vintage Landis, e.g., "Animal House" or "An American Werewolf in London." But at least it's not "The Stupids."

Caan can’t seem to play up his strengths. He’s a raw talent who needs an editor for his scripts and a strong hand behind the camera guiding him. Mercy gives our guy neither.

The Broken Tower feels unique as a young man’s tribute to an adventuresome, doomed soul.

Zhang's mixture of unsparing violence, mawkish sentimentality and garish flourishes creates one uncomfortable aesthetic.

Efficient enough as formula suspense, but it fails to confront the implications of its subject, preferring instead evasiveness and fast cynicism to pull it through.

Unfortunately, a new problem rears its head: It seems no young audience member can be trusted to enjoy a thoughtful story without a heroic, borderline-obnoxious surrogate (here, he's voiced by Zac Efron) zooming around on a scooter, bonking villainous heads and saving the day.

Though he's too ubiquitous now to dupe real authoritarians, his film nevertheless proffers plenty of cheek - even if most of its gross-out gags come signposted.

Candy-coloured fun for greying gamers and fresh-faced wee’uns that does the basics well but not much more.

Neither Janney nor Keener can rise above the rote hatefulness of their madwoman caricatures, whereas Laurie and Meester fare better at playing liberated dreamers who go against the dreaded grain. But shooting fish in a barrel tends to unintentionally conjure sympathy for the fish - or, in this case, for perfectly unhappy suburbanites.

The kids' attainment of self-respect and adulthood through sabotage and risky business is achieved at considerable cost, with Petrie pulling no punches in his depiction of violence. The exciting action set pieces, likewise, are staged with a verve and skill above and beyond the call of duty.

[An] enormously fun late-summer surprise.

We might have all felt like lost children for a while, but ten years later, the innocence is shameless.

Based on a true story that culminated with the expulsion of 3 million Germans from Czechoslovakia, the film leaps through years with a rapidity that negates a good deal of its sweep.

The filmmaker's work is infinitely more exhilarating when he's relieved of the need to be in any way serious. He should play dumb more often.

Generous souls may try to blame this travesty of the Deadline comic-strip on the studio execs who forced director Talalay to tone down and re-edit her cut. But what remains of Petty's anodyne sexless heroine and the dull, episodic live-action sequences suggests we may have been spared something worse even than this movie.

Like all of Tarsem's films, story takes a backseat to visuals, and there's plenty to pop the eyes-love those life-size string-puppet assassins!-if not, ultimately, to stir the soul.

Other than the Pottersploitation and presence of current It nerd Baruchel, this fantasy-action-comedy might have been spat out into multiplexes any summer over the previous two decades, yet it would seem like forgettable abracadabra filler regardless of the date.

But even though tear-jerking has never been so blatant, your tears of laughter are replaced, dammit, by tears of grief.

An incredible physical comedian, Rowan Atkinson would seemingly do anything for a laugh except one crucial thing: hold out for a better script. This sequel to 2003's Johnny English has a few inspired gags, but most of the material is on the level of English getting kicked repeatedly in his thunderballs.

When it’s indulging in glammed-up musical sequences, Hunky Dory comes to life; everything else couldn’t seem less inspiring.

A kind of Invasion of the Body Snatchers meets Catch-22, or maybe Fuller's Shock Corridor set as an episode from The Twilight Zone. Sounds interesting enough, but isn't.

This sequel brings everything back to the original film – even recycling some of the same jokes. But they’re a pale echo of its greatness in an overly stuffed and only occasionally fun spectral adventure.

Rosebush Pruning is a fabulous feast for the eyes and ears – and those who like their cinema deliriously queer.

Reminiscence has imagination to spare, but it doesn’t deliver the precious memories it promises.

you sense that "The Hangover" loomed large over this production. Still, Eve has a true flair for zingers, and the movie’s heart survives intact.

Unlike a truly daring movie like Lars von Trier's "The Idiots" - about a gang of clever jerks who pretend to be mentally retarded - The Comedy never musters an articulate indictment, nor does it have much to say on the subject of free-floating fatigue.