The clothes are worth it; nothing else is.

Watching Rocks shows, we know he's sharper than the average actor. But watching him flail and play funny in movies that aren't as smart as him is simply depressing. Someone give this man a good role. And please, let him do a few more takes -- these scenes can't be his best efforts.

Though it's debatable whether Sandler is squandered or just supremely annoying here, the film's flaws aren't entirely his fault.

Bad comedy.

America's favorite romantic comedian is miscast in Kate & Leopold -- a disappointment with the warm and charming Jackman around.

Goes overboard in its presentation of supposed reality.

Lacks the perfect timing, luster and true vitality of its predecessors.

Never maintains the spark necessary to sustain a feature film.

The picture is pinched and predictable. Even with the immensely talented Steve Zahn, an actor who's known to steal scenes and, sometimes, save pictures, the movie is a yawn.

Its cool, glib observations, delivered by good-looking creative people who live like the cast of "Friends" gone cynical, becomes forced and often stupid. The film goes off the track enough to make for an interesting train wreck.

It's Zahn who truly conveys what Marshall and Barrymore are going for -- laughing through your tears.

Jinxed itself into being nothing but an inane popcorn flick pretending to be edgy.

A flimsy film that's too clean and corn pone to be anything near rock 'n' roll.

Not that Chan isn't lovable; he is. But he's making it harder to feel warm and fuzzy about him with films like The Medallion. It's OK to age, but Chan needs to broaden his horizons. He is a trained singer. Where's that musical he's always dreamed of making?

Fails to be resonant and, more important, scary.

The Young Unknowns flails about, sometimes realistically, but the cumulative effect is "so what?" These characters may be young and unknown, but they feel old and in the way.

Lopez is fine, sometimes quite funny, but she's better playing the take-no-prisoners planner than a goofy, insecure dork.

It's something we might mildly enjoy on an airplane (well, not anymore) or on a lazy Sunday TV day when nothing else is on, but in theaters, it's a clunker.

A picture that could have bordered on classy screwball if written wittier, acted sexier and filmed shinier.

It's nice that Demme reveres the Hollywood classic, the French cinema and the glamour of his actors. But nice is all The Truth About Charlie is -- a nice mess.

Filled with too many issues -- along with young motherhood, street gangs, city life, sex, peer pressure, grief and, oh yes, dancing, which is nearly lost in so many poorly written subplots.

There's nothing worse than a sub-par Woody Allen knockoff.

All guts, no glory and, worse, bad story.

A little movie, fine, but a little movie with little in the way of character composition, cinematic panache or intelligent writing.

Suffers from poor comic timing and defective romantic pacing.

We're talking mediocre-to-bad. Still, the film has at least two bits that are funnier than anything in many better films and a fair amount of mild amusement in between.

In The Tuxedo, ridiculously, Chan's just a suit. A suit walking Jennifer Love Hewitt's breasts around. Chan deserves better.

Somewhere along the way, Stephen Herek's Rock Star decided to become a dippy, cliche-ridden drama and, worse, an odd indictment of metal music. Joy.

If the movie wasn't about an actor but instead about an insurance salesman or a plumber who looked like James Gandolfini, it might come off better. But then, who says a plumber would care either?

It's classic movie manipulation gone amok.

By a certain point The Heart of Me becomes pointlessly depressing and unlikable without offering insight.

Starts out dark, thrilling and inventive, then, regrettably, becomes sappy, mainstream and mundane.

The best thing about 2 Fast 2 Furious is Tyrese (terrific in Singleton's "Baby Boy"), whose charisma, looks and charm supply the picture with much-needed spark. It's too bad he's stuck in this spotty video game.

The film wears out its welcome by the halfway mark, becoming a silly spectacle.

Though there are some funny moments, little in "Red, White and Blonde" is enjoyable.

Sometimes funny but mostly stupid film directed by Adam Shankman might have worked had it been made on TV by Norman Lear in the 1970s.

Quite simply, the "Tomb Raider" series has been flat-out boring, even with the talented and fun Jolie -- who needs to take off those harnesses and get back to real movies. She deserves better.

Feels more TV movie-of-the-week than Oscar contender.

Maybe if you're younger than 10 you'll be scared or thrilled by this film. Otherwise, be prepared for one of the most unexciting pictures this summer.

Plot, comedy and characterization? It's absolutely anemic.

One of the funniest things in Scary Movie 3 is Pamela Anderson. She makes us laugh. And not just at her (though she's game to poke fun at her image) but with her.

Limps shallowly along.

Accuracy and realism are terrific, but if your film becomes boring, and your dialogue isn't smart, then you need to use more poetic license.

One of the most wearisome "high adrenaline" movies to come along in a while.

Groove seems to be less about what it is chronicling than what its attempting to decipher.

A film with almost zero redeeming value.

Has a few pleasing stylistic flourishes and a potentially Hitchcockian plot, but the writing and rhythm are so off that when the final "shocker" arrives, we have seen it coming or have abandoned caring.

It all makes you realize the importance of the guy who should have played Malkovich's role -- Christopher Walken. He makes films like this bearable.

A disappointing venture. If only it had been more clever, perhaps darker.

There are movies that are made for the big screen, and movies that are made for the small screen; Passionada is the latter type.

So often out of control that it becomes absurd and exasperating.

Taking the film as a thriller, it's neither exciting nor scary, hampered by a middle that plays much too long.

You can't help but think how much better this film would be had Woody Allen directed it...How much more acerbic fun would it be to see Judy Davis playing stenographer to a neurotic, writer's-blocked Woody?

Working with a weak script and too lightweight for its freakier moments with Green, the picture never gels. Green's the star, but he really should be in a movie much weirder than this one, a film that can accommodate his humor.

Has a curious train-wreck quality to it that keeps you watching and thinking. (Even if you are thinking things like, Why were these lines ever written? When you hear the "turkey" line, your jaw will drop.)

The script is inane, and though Ferri has some funny moments, the acting is annoying or hopelessly bland.

For those who've seen the original, no surprises will be unearthed other than an altered story (not for the better) and more gore.

Just pass on K-PAX.

An annoying, unclever, unlikable movie.

This little serio-comedy contains absolutely nothing that warrants big-screen release. It's lit like TV, acted like TV and staged like TV.

If ever a film was fit only for straight-to-video release, it's this one.

So tedious that the experience results in nearly two hours of squirming and cringing.

A grating experience from start to finish.

Maybe if the story weren't so ludicrous we'd care. Or maybe if the film just went overboard with its ludicrousness, we'd be entertained, but Don't Say a Word is merely boring.

Corky Romano is merely grating. Until he finds a better director than Rob Pritts, Kattan's best bet is to stick with "SNL" impresario Lorne Michaels.

Garners only a few chuckles, becoming, even in its short running time, boring.

A lazy, trite comedy that's made by people who don't care either.

Scooby-Doo is bad. Let's just get that right out of the way. Filled with unclever quips, tired humor, a lazy silliness and bland execution, the picture is a tedious puff of nothing.

Compare it with the book, and it stinks. Look at the film on its own, and it still stinks.

Simply something you don't want to touch.

An atrocity exhibition from start to finish.

Ponderous, pretentious and boring, Levity becomes ironic on top of itself. You won't pity these people. You'll start laughing at them. Like a clown.

Chris Koch exhibits little flair for comedic direction and, though this isn't saying much, you'd be better served watching his previous film, "Snow Day." Ouch.

Surprisingly bland even within its dubious genre of "chick flick."

Intelligent teens will hate this film, and adults will just be embarrassed.

Stinky, boring, aggressively unfunny picture.