The first hour of The Tomorrow War is really quite dumb fun. The second half pumps the brakes on the wacky sci-fi and just goes in for gross-out action.

On the positive side, Coscarelli makes ingenious use of the clips from the original film, and comes up with the occasional creepy moment. But more often, PHANTASM: OBLIVION is extremely slow-paced and works only on a scene-by-scene basis rather than as a coherent whole.

All the performers either overact laughably or underact to the point of just standing in place and speaking lines in a monotone. Whether the film ever stopped anyone from smoking marijuana is doubtful, but it certainly turned out to be a greater success than its producers ever dreamed.

Somehow the filmmakers managed to take the subject of the mistreatment of migrant workers and turn it into a vehicle for displaying Bronson's violent heroics.

CHAPLIN is the cinematic equivalent of a whistle-stop tour of Europe--the kind that takes you to ten cities in five days at such speed that everything melts into a vaguely entertaining blur.

Our favorite parts, though, were the moments of unintentional humor, mostly courtesy of Ms. Archer. Her insufferably goody-goody performance makes you wish Glenn Close would show up brandishing a kitchen knife.

William Rose, with a stilted screenplay, and Stanley Kramer, make this dinner hour stand still--a really safe, lame melodrama.

While the slapstick comedy antics are frequently amusing and, on rare occasions, even hilarious, HOT SHOTS!, like so many other cinematic parodies before it, tends to lose sight--or control--of the plot, such as it is, in favor of more jokes, more visual gags and more dialogue puns--all hurled at the audience at a rapid-fire pace.

Intermittently amusing, forgettable action spoof showcasing Whoopi Goldberg and helmed by Penny Marshall.

Clearly designed as a cult film, this messy trifle is not without its charms. These include the affably weird Goldblum, Lithgow's deliriously overstated mad scientist, and a band of alien invaders who are not emissaries of a vastly superior race, but beer-swilling mediocrities in Hawaiian shirts.

At the end of the day, people who want to see this movie aren't looking for something original. There's a certain familiarity that makes the romantic comedy a perennial favorite among audiences.

Your ability to enjoy G-Force will correlate directly with how funny you find the idea of guinea pigs as action heroes.

For a teen film to resonate, it has to feel honest, and I Love You, Beth Cooper simply comes off as too paint-by-numbers to achieve any level of emotional authenticity.

Should be shown in theaters that offer seats with tissue dispensers built right into the arm rests.

Bullock playing against type is the only original thing going on in the whole film.

A benign, mushy gruel that tries desperately to maintain the sticky sweet consistency of "My Big Fat Greek Wedding" but ultimately ends up coasting on the "kefi" of that previous success.

If director Brad Silberling had taken this cast to their natural extremes, he might have delivered a raucously funny sci-fi comedy -- think "Anchorman" meets "Jurassic Park." Instead, Land of the Lost is an utter misfire -- not bad enough to hate, not good enough to remember.

Without Azaria's comedic gifts, the movie would be close to unendurable.

With the exception of one breathtaking sequence in a helicopter, the action in Terminator Salvation is astonishingly dull.

Whatever Howard's reasons for keeping things so stale, it was a bad choice, but lucky for viewers, some stories are just too crazy for even the dullest storytelling to completely ruin the fun.

Sadly, Management is formulaic indie romantic comedy at its core.

The right combination of goofy character behavior, action set pieces, and narrative drive to keep the movie from ever being boring.

It's the movie equivalent of fast food -- nobody needs this to be good, just adequate. And Ghosts of Girlfriends Past is nothing if not thoroughly adequate.

It's not as if Fighting is terrible. The acting is well done, as is the unique look at the underbelly of the Big Apple.

The result is a glossy, engaging suspense film that jettisons much of its predecessor's sadism and subtext in favor of crowd-pleasing revenge violence.

It's not an openly meta take on the genre like "Scream," but it's a slasher movie for people who love slasher movies, and if your heart will flutter when a woodchipper casually appears in the first act, it's probably worth watching.

There's tons of professionalism in He's Just Not That Into You, but it lacks passion -- they should have called it "Like, Actually."

Despite all the points it gains for furrowed brows and kick-ass gunfights, the film loses quite a few for being dry as burnt toast.