Even in the junky potboilers that John Travolta has persisted in making since his "Pulp Fiction" comeback (all 5,000 of them), you usually get the sense that he's acting in his bailiwick.

Visually stunning and narratively stunted, this IMAX documentary is the family version of 2006's "An Inconvenient Truth," Al Gore's Oscar-winning documentary on global warming.

It's hard not to wish the same wholesome message could be conveyed with a bit more finesse and originality.

Although it's a vast improvement from its early aughts predecessor (not exactly a high bar to cross), this ghoulish gathering is a family-friendly affair that's awfully vanilla when it comes to both humor and scares.

There's really not much fun to be had with Dick and Jane - or anyone else in this anemic comedy.

Director Jonathan Lynn has had his hits (My Cousin Vinny) and stinkeroos (Greedy). This falls in between. [29 Mar 1996, p.4D]

Mostly, it wallows in partying with a capital P.

Yummy yet empty.

Agreeable and slipshod in equal fashion, The Guru illustrates the subtle distinction between stupidity and goofiness.

The concept is so hypocritical, it's like Britney Spears calling Christina Aguilera underdressed and overexposed.

Director Richard Attenborough's Chaplin is catastrophic only partly because it tries to squeeze in topics, subtopics and more. [24 Dec 1992, p.3D]

An OK mood piece but story-hungry murder mystery that flubs its whodunit fundamentals.

The film is fine, familiar fare for gamers and children: Sonic sprints, Carrey mugs, but the creative juices run out quickly.

The third installment of director David Yates’ “Harry Potter” period prequel series still is overstuffed with characters and subplots, yet polishes a few missteps from previous films. There’s a renewed emphasis on magical creatures and another decidedly political bent to the franchise as it digs into dark themes and offers a bewitching goofy side.

Regard it also as a well-intentioned clunker. [10 July 1991, p.4D]

Russell Crowe may find himself discovering the simple joys of life in A Good Year, but audiences will be checking their watches during this joyless attempt at comedy.

The characters in The Box are like cardboard cutouts: Some have "foolish victim" labeled on them, and others fall into the category of absurdly creepy villain.

Red 2 is one of those sequels that's easier to follow if you've seen the original but more entertaining if you haven't.

A comedy without much zing but with an occasional zing-er that enables the film to pick up . . . well, if not nine yards, maybe an inch or two on the gridiron.

The premise is misbegotten, the chemistry non-existent and the dialogue leaden. Did we mention how tediously the plot unfolds?

A mildly satirical but essentially sweet, benign comedy.

The third installment of the Night at the Museum franchise, Secret of the Tomb, is better than its predecessors, funnier and more adventurous, thanks to a visit across the pond to the British Museum.

The movie has a few too many story threads, but it also has some very funny lines and offers sharp-eyed commentary on the state of relationships in the era of instant messages and MySpace.

This come-down of a series capper is so arch and pompous amid its clanks and collisions that you can only snicker at the verbal wind that obscures the din of marauding machinery.

What gives In the Land of Women its singular charm is the charismatic Adam Brody, the star of TV's "The OC."

In the Heart of the Sea really gives Hemsworth a chance to shine. He’s not just the hammer-slinging Thor: The Aussie continues to make the most of his dramatic work — as in Howard’s 2013 Formula 1 film "Rush" — and showcases a considerable amount of gravitas.

Jennifer's Body is not as hot as you hope it would be.

Misanthropic to the extreme, Bad Teacher fails across the board.