Though better than its 2001 predecessor -- and teeming with cute creatures and fast and furious action scenes -- the movie feels excessively formulaic.

One can excuse the movie's missteps and melodramatic moments in the greater interest of the strong statement it makes about our health care system.

A laughably bad horror flick.

Sitting through the teen skateboard comedy Grind is, well, a grind.

Much as they would like it to, basketball can't save the youthful inner-city players here. Nor does the ultra-fast-paced street version of the sport save this movie from predictability and tedium.

In a summer filled with dumb comedies, this might prove to be the dumbest. Think "Road Trip" meets "City Slickers." Then dial the humor down a few notches, and you're left Without a Paddle.

Premonition is both dreary and absurd, suffering from a lack of intrinsic logic and terrible pacing, a one-two punch that kills off any chance of entertainment value.

Too bad first-time director Christopher Erskin, who cut his teeth on music videos and commercials, took so many predictable turns on this Vacation.

To say that New in Town is the worst movie of this fledgling year is to damn it with faint praise. It may be one of the worst movies of any year. Not content to be merely inane and predictable, it is downright insulting, humorlessly deriding those who choose to live in rural America, labor in factories or have a strong Christian faith.

Drippy, derivative stalker flick.

All cinematic creativity seems to have focused on devising the most repellent ways to maim and murder.

The jewels in the buried treasure, once sighted, look fake. But the bigger problem is how artificial the whole story feels.

The best that can be said is that the production design is striking. Otherwise, it's a foolish story, marred by a strange blend of overacting and bland, offhand performances.

Forced, formulaic and never believable. It's a particularly unholy combination.

An occasionally entertaining, always fluffy teen romantic comedy with some moderately funny physical comedy by gadabout star Lindsay Lohan.

The best actor in Snow Dogs is a glowering Siberian husky named Demon. In fact, all the dogs in the movie do a better job than their human counterparts.

As the girl fights and rivalry play out, flashes of wit are obscured by the plot's contrivances.

You'll be checking your watch a lot during Timeline. Though most of the cast is strong and the movie has moments of suspense, ultimately the mystery in this action thriller is so far-fetched it's ludicrous.

Not without some stupidly funny moments.

Who would have thought an animated comedy satirizing the predictable nature of fairy tales could be so grim?

Despite its appealing stars, The Ugly Truth is a charmless romantic comedy.

The best thing about A Good Day to Die Hard is its title.

If you didn't know otherwise, you'd swear that Gentlemen Broncos was made by a disaffected high school student – and not a particularly talented one.

The story is tedious, noisy and banal. It is also rather dark and convoluted for children, though it does have the familiar bombast of a video game.

Not even Bill Murray could save Garfield. Perhaps the comedian -- so pitch-perfect as the sardonic actor in "Lost in Translation" -- got too deeply into character.

Not worth the ride.

An insult to the memory of the cleverly written show and its celebration of friendship, it's a slap in the face for the four gal pals (often photographed at unflattering angles) and an affront to Muslims.

Everything about this fish-out-of-water romp is tired.

Less a movie than a mind-numbingly dull road trip.

A pale imitation that challenges credulity and tries too hard to win our hearts with schmaltz.

Actually is a bit of a hoot.

Hisses for Catwoman. Unfortunately for Oscar winner Halle Berry, this movie belongs in the litter box.

From the embarrassingly over-the-top performance of Ray Liotta as a tough-guy biker to the pratfalls of William H. Macy as a bumbling computer geek, this movie stinks of exhaust and desperation.

Chan has more chemistry with the kids than with Valletta, but the story is so insipid that it's likely to only sadden fans of the martial-arts icon and offer little enjoyment to its young audience.

Defanged and drippy, the remake of 1939's The Women seems to have been made for the dullard granddaughters of the sassy, sharp society matrons in George Cukor's campy original.

The shenanigans of randy soccer moms and their obnoxious blowhard husbands are intended as comic relief. But the sappy plot of this formulaic romantic comedy is just as silly as its inane attempts at farce.

A surprisingly funny, female-driven romp — as long as you don't question too many plot particulars.

There are viable flashes of comedy in the franchise. But with each movie, they grow increasingly dim.

It's so derivative, unfunny and thuddingly bad that it's one of the more cringe-inducing movies of a genre chock-full of clunkers.

The concept is unoriginal, the scenarios aren't funny, and its message is banal. Plus, Murphy alternately hams it up and phones it in.

Even by teen gross-out movie standards Van Wilder makes "Sorority Boys" look like "Some Like It Hot."

The 1992 phenomenon was creepy, tense and sexually charged in a bold yet tawdry way. This sequel lacks even a shred of those elements.

This unfunny, über-misogynistic adaptation of Tucker Max's audacious best-seller of the same name is unlikely to please anyone.

Madonna's directorial debut, Filth and Wisdom, feels more like a collection of scenes than a fully drawn film.

It tries to pass itself off as a film about feistiness, forgiveness and the bonds of motherhood. Instead, it deals lightly and inappropriately with promiscuity, alcoholism, drug abuse, grief and child molestation. Georgia Rule doesn't make you feel good; it makes you queasy.

The characters and plot lack even a shred of credibility.

A little bit of charm is precisely what this movie has to offer. A small dose is better than none, but you can't help wishing there was more to go around.

A moviegoer's only defense against Jason is to avoid theaters showing this gruesome and derivative movie.

Filled with laughable dialogue, Abduction goes nowhere.

Too much. The hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone.

The cliché-laden dialogue, schlocky special effects and predictable plot are derivative; the movie is overwrought and lacks suspense.

Bride Wars is about as funny as a cringingly awkward wedding toast.

The best that can be said about the film is that its naturalistic look and dark hues are occasionally intriguing, and its twist is fairly unpredictable, if far-fetched.

Enraptured by bathroom humor that doesn't even reach sophomoric standards. It's more on the level of preschool.

Maybe for the next installment, they can go off to college and find something better to do than making these silly movies.

Furry Vengeance is a slapstick stinker, easily the worst movie of the year.

Amazingly, amidst the smutty silliness, there are some laughs.

Tedious, unromantic, sophomoric and only sporadically funny.

This is the worst kind of movie, one that insults its audience by purporting to condemn violence while simultaneously reveling in it.

That's what The Bounty Hunter has rustled up -- along with a listless rom-com, a feeble thriller and a supporting cast of clueless characters.

Can't decide what direction it's going in. Some of the time it seems to be a standard teen sex comedy. Occasionally, it appears to be spoofing the genre. It concludes on a romantic, almost honorable note.

For a comedian (Allen) who often seems to be calling it in, he's more lackluster than usual. Curtis is a bigger disappointment, especially after "Freaky Friday," in which she was funny, smart and cheeky.

This genre stew throws in so many ingredients - including sundry body parts that are cut off and go flying, and heads that explode - that the result is a tasteless mash-up that's hard to stomach.

Killers is dead on arrival: miscast, horribly paced and murderously uninvolving.

A silly movie that's essentially a series of clichés strung together into a semblance of a movie.

Though the movie trails off unsatisfyingly, it raises intriguing and candid, if unanswerable, questions about race relations and political correctness.

Memorable for being one of the most obnoxious animated movies of recent years.

Shocking is the fact that three highly regarded actors -- Kim Basinger, Mickey Rourke and Billy Bob Thornton -- chose to star in this dreadful film.

Saw V is a terrible combination: grisly and tedious. Let's just call it bloody dull.

While he gets points for addressing the debate, the way in which Stein goes about it undermines his efforts to be even-handed and intellectually rigorous.

Long on visual dazzle but short on warmth, and the humor is excessively raunchy for a family film.

This is not the Travolta of "Pulp Fiction," nor is it the Williams of "One Hour Photo." Though no animals were harmed in the making of Old Dogs, the lead actors were defanged. But like a pair of Labradors, they have a playful rapport.

In "There's Something About Mary," the gross gags were hilarious. Here, they're just vile.

Some screwball moments elicit a chuckle or two, but the script is weak and the characterizations clichéd.

An embarrassing debacle...the rare movie that never seems to take off, but also never seems to end. It tries hard to titillate, but ends up making audiences want to avert their eyes.

Romantic screwball comedies are supposed to be at least a little romantic, but there's no chemistry between Perry and Hurley.

Who had the lamebrained idea for a post-apocalyptic 3-D Nutcracker that is lacking any trace of ballet?

This is probably the year's worst romantic comedy -- and that's saying something in a year that includes "Ghosts of Girlfriends Past" and "Whatever Works."

This may be the most preposterous movie of the year. It is certainly the most ridiculous movie starring an Oscar-winning actor.

Manages to be both toothless and tasteless in its satire of TV news sensationalism.

It would appear that director Scott Kalvert never met a cliché he didn't like. No telegraphing is too obvious or simplistic for this movie.

The unfunny jokes center on outhouses, vomit and flatulence. Gooding mugs, screeches, even hops up and down to no avail. Nothing can wring an ounce of comedy out of this sorry spectacle.