Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama.

A numbingly pretentious approach to a moldy premise -- a handful of strangers interacting amid rubble in wake of WWIII.

A stunningly unfunny farce that makes the worst of a stale concept.

Criminally short on laughs as it tries to wring humor from dull activity by dim bulbs.

An unwieldy mix of self-conscious camp and heavy-handed allegory, Automatons plays like a cheesy '50s no-budget sci-fier with serious delusions of grandeur.

A strident, painfully repetitive and hopelessly stage-bound drama about self-indulgent twentysomethings on the fringes of the L.A. film scene.

It's plotless, shapeless -- and yet, it must be admitted, not entirely humorless. Indeed, the more outrageous bits achieve a shock-you-into-laughter intensity of almost Dadaist proportions.

Far too aggressively seamy (and ferociously foul-mouthed) to please diehard fans of traditional sagebrush sagas, this misfire offers nothing in the way of wit, innovation or even marquee allure to interest auds accustomed to edgier revisionist oaters.

Be prepared to laugh less at a lot more of the same thing in this overbearing but underwhelming sequel.

So insubstantial that it practically evaporates on screen.

Scarcely seems worth the expenditure of time, money and talent.

A new standard for wretched excess is established by Inspector Gadget, a joyless and charmless disaster in which state-of-the-art special effects are squandered on pain-in-the-backside folly.

Arriving so soon after "A Knight's Tale" -- and the 25th-anniversary reissue of the classic "Monty Python and the Holy Grail," Black Knight is a textbook example of too much, too late.

A picture so thoroughly generic as to suggest a contraption assembled from spare parts with the aid of a how-to manual.

Yet another attempt to mix raunchy excess and romantic-comedy sweetness in an anything-goes raucous farce, The Babymakers offers a few big laughs between ho-hum stretches of frenetic vamping.

Begins as a morosely melancholy study of a thirtysomething couple on the verge of divorce, then devolves into an unpleasant thriller about their confrontation with psychos.

It doesn't help that Zellweger, in an unfortunate attempt to make the aud appreciate her character's uptightness, spends many of the early scenes moving about as stiff as a flagpole in January.

Plodding and repetitive in its efforts to maintain pressure-cooker intensity, The Divide resembles nothing so much as an extended "Twilight Zone" episode as it brings a sci-fi twist to a familiar scenario about stressed characters who bring out the worst in each other while trapped in close quarters.

Silly script, broad slapstick and overstated lead perfs by B-team cast might be acceptable to target audience.

Only very small children still easily impressed by interaction of human actors and CGI quadrupeds will be amused by Garfield.

Much like a botched souffle that fails to rise, Simply Irresistible is a bland confection that remains doggedly earthbound while attempting flights of romantic fantasy.

Overall, though, the slapdash pic appears to be the work of folks who made things up as they went along; you might say they were, well, vamping.

This tepid comic-bookish comedy should zip through its theatrical run faster than a speeding bullet. It likely won't perform much more superheroically in ancillary venues.

An exceptionally lame genre parody that plumbs depths of ineptitude heretofore charted only by the marginally less abysmal "Date Movie."

Costner's earnest performance is a major plus for Dragonfly, keeping the picture grounded in some semblance of reality even as it becomes progressively more fantastical.

It's doubtful that anyone, even executors of Greene's literary estate, will be able to discern much of the source material in this frenetic trifle.

A clunky and cheesy disaster.

A '70s-style redneck romp aimed at folks who felt intellectually challenged by the complex narrative stratagems of "The Dukes of Hazzard" and "The Misadventures of Sheriff Lobo."