Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.

It's a little sad that The Messengers is ultimately a good candidate for burial in a toxic waste dump because there are some good elements contained herein.

Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.

It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.

A movie so inane that it fails to rise to the level of "good trash."

There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.

The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.

A tedious, incoherent bore.

Louder, flashier, and more hollow than anything else out there.

It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.

Dull, uninspired, and redundant.

It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.

By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.

It's a depressing experience to view something like Saw IV. It's not just the soullessness that's dispiriting, but the lack of invention. When a movie does little more than repeat what its predecessors accomplished with grotesque effectiveness, it's past time to tip this corpse into its grave and bury it.

Newell has followed up a respectable adaptation of a Harry Potter novel with an ignominious translation of something more delicate and literate. It's hard to recommend this movie to anyone except perhaps the MST3K crew.

"Mindless" applies, and Book of Secrets is more like a tame, endlessly repetitive amusement park ride than a motion picture.

Uninspired and painfully familiar.

One doesn't expect intelligent scripting or deep characterization from Roland Emmerich, but the film's lack of energy, poor special effects, and monotonous pacing lead to an inescapable conclusion: 10,000 B.C. isn't only brain-dead, it's COMPLETELY dead. It's inert and without a heartbeat.

Chaos Theory stumbles from one contrived circumstance to the next, and there's not a moment in this entire mess that conveys any sort of genuine human emotion or reaction.

To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.

This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.

The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.

Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.

Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

My Best Friend's Girl isn't just a misfire; it's a misfire compounded by a chain of miscalculations, and it's hard to figure out who this could appeal to (except, perhaps, Dane Cook's fan club).

There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.

Most of the laughs are unintentional, but the result is absurd and laughable.