In middle age Jackie Chan can't keep coasting on boyish charm, as evidenced by this dreadful family comedy that does him no favors with its opening title sequence.

A more helpful title for this date movie would have been Couples, Retreat!

The dialogue is often grating, and some of the situations are distastefully cute, although John Carroll Lynch (Fargo) has a strong supporting turn as a grief workshop client.

The special effects are better and the dialogue slightly more humorous than in the first movie, but the anti-Arab subtext is repugnant.

Cowriters Luc Besson and Robert Mark Kamen (Gladiator) saddle Neeson with indigestible dialogue and preposterous situations.

Too low-key and amiable to match the lubriciousness Jim Carrey brought to the original.

"Soppy" doesn't begin to describe this 2004 drama by Quentin Lee.

Platinum-selling singer Usher is one hell of a clotheshorse, but he's too amiable to be convincing as a leading man--not that anyone is particularly believable in this feeble comedy.

Just when you thought camp was dead, along comes this bizarre cross between a Tarantino knockoff and a Hammer horror film.

Throughout most of her career Diane Keaton has shown sound instincts, so it's a mystery why she failed to sniff this false, brittle comedy out as a waste of her gifts.

As an actor Austin is still a lightweight, but Rick Hoffman (Hostel) fleshes out a recognizable character.

A romance between Fox and the attorney trying to force her out (Darrin Henson) taxes belief and leads to a sappy ending that doesn't come soon enough.

Stunning vistas of New Zealand's rolling countryside aren't enough to carry this lame 2006 horror spoof.

Not a movie, just one gigantic commercial for Hasbro.

The set-up is tediously slow, while the later murders are packed so tightly it's like watching a blender on high speed.

Williams's overacting, Russell's pinched melancholy, and Highmore's unflagging chirpiness would be trying enough on their own, but the convoluted story, with its pileup of obstacles and coincidences, makes this sophomore effort by director Kirsten Sheridan (Disco Pigs) an exercise in dissonance.

Overblown and stupefyingly dull.

Absolutely nothing funny happens during their drive to Georgetown for an interview, even with Donny Osmond along for the ride.

The movie not only indicts the country's embrace of capitalism by showing how low people will sink to make money, it also denigrates the agrarian class--once celebrated as heroic under Mao--by portraying its members as illiterate barbarians concerned only with continuing their family lines.

The kids are impressively plucky, but Weihenmayer comes off as an egomaniac, arguing with his team and endangering the youngsters' lives. Lucy Walker directed this cloying and manipulative 2006 documentary.

Al Pacino chews up so much scenery it's surprising there's any left by the end of this fetid thriller.

Andy and Larry Wachowski barrel through this adaptation of the 60s animated series, hoping perhaps that no one will notice the story is as flat as roadkill.

Wahlberg turns in one of his worst performances ever, but then he's saddled with preposterous scenes.

This Mike Myers vehicle exemplifies American comedy's continuing slide into infantilism.

For a movie about the undead, this lacks any supernatural chills, and by the time its obligatory final showdown arrives, it seems as hollow as the terra cotta soldiers brought to life by CGI.

Paul Bartel's "Death Race 2000" is a beloved camp item, but this slick, loud, violent remake is pitched at the video game crowd.

The little heroes and their families are surprisingly ugly, with faces resembling skulls, and the colors are so faded and muddy the movie feels tired and bungled.

Ryan, barely refining her "When Harry Met Sally" persona, is a dud; Annette Bening, playing the best friend who sells her out to a tabloid, is better in the scenes she doesn't share with her.