Feels a bit too much like six hours of movie packed into 113 minutes - imagine if New Line had made Peter Jackson cram the entirety of "Lord of the Rings" into one film.

The movie is too lethargic for its own good, and many of the events and minor characters don't quite ring true.

Not only less than horrible, but actually occasionally enjoyable.

Isn't quite as boring as it sounds, thanks to writer/director Steve Conrad's strong script and decent performances by John C. Reilly and Seann William Scott.

Has beautiful scenery and some enjoyable moments but leaves the viewer feeling the need to find the book to get the rest of the story.

Most audience members will probably want more.

Looks fantastic, but the film suffers from the TV-to-feature transition.

Screenwriters Karen McCullah Lutz and Kirsten Smith may not have any original ideas, but they write some good lines and have a great actress to deliver them.

In style and tone, Igor seems more like a short from the adult-oriented "Spike & Mike's Festival of Animation."

A relatively harmless movie that becomes killing-a-mockingbird sinful for what it does to its leads.

Unfortunately, the writing has become so bad that it becomes impossible to keep your head in the game - even as your toes continue to tap to the beat.

As the film meanders, the powerful moments barely outnumber the ridiculous. And another excellent performance from McAdams isn't quite good enough to mask the distractions.

Has a made-for-television style.

If Stanley Kubrick filmed an orgy like the one in this film, "Eyes Wide Shut" might have been halfway tolerable.

Zellweger takes an otherwise passable mainstream comedy and all but ruins it with her lack of effort.

The predictable script feels as if it were filmed right off the cocktail napkin it was jotted on, but at least the movie has an "Ocean's 11" sequel's worth of good actors, including Alfred Molina, Jeremy Irons and Jean Reno.

It's hard to deny that the first two-thirds of G.I. Joe is an enjoyable film, especially when graded on the curve of lowered expectations. Compared to other big-budget movies out this summer, it's pretty mediocre.

A movie that doesn't quite have enough romance, thriller or revenge-fantasy elements to qualify for any of those genres. More than anything, it's a celebration of uncomfortable silences. The awkward moments in this movie far outweigh the joyful or tragic ones.

Isn't a terrible addition to the teen coming-of-age party movie catalog. It just feels dated.

Will satisfy its young fan base and is bound to make a ton of money. At this point, though, the series is no longer an artistic pursuit; it's a business deal.

Hawke is half-assed throughout, showing passion only when he's screaming like a little girl when something scary happens. The visuals have a dingy, unfocused quality, especially in the muddy visual-effects-enhanced backdrops. And some of the plot turns are awful. The vampire "cure" is so stupid, you'll want to walk out of the theater, even if you normally like this kind of movie.

The movie lacks the strong vision and memorable carnage of Zombie's masterpiece, "The Devil's Rejects."

Delivers all the pain, melodrama and redemption that fans of the genre demand.

Poorly written, contains too much hero worship and profiles too many events - including one that combines the high jump with motorcycles. But the documentary generates a remarkable amount of goodwill with its stunning visuals, which look breathtaking in 3-D.

Enjoy the film for its witty dialogue and fun performances, but know that there isn't a single good scare. An episode of "Murder, She Wrote" has more thrills.

The final message is a strong one: Even when the starting forward is one of the best high school players ever, basketball is still a team sport.

The Providence Effect" is flawed, but it's still a moving film.

The writing is funny during individual moments, but the cumulative result is a bit depressing, with a surprising amount of negativity.

A movie for people who value heart and earnestness over technical filmmaking skill, and consider unpredictable plot turns a betrayal.

To cover the Abramoff scandal is to follow tangent after tangent, until it seems as if prison was in the lobbyist's plans from the beginning.

The movie is not as good as his recent low-budget effort, "Diary of the Dead," but there are enough moments of satire and coolness - two Romero hallmarks - to merit recommendation.

The result is an interesting but often frustrating effort by the director of "The Sea Inside," who proves that ambition and talent aren't enough to ensure a compelling drama.

This film is too scary for very young children, while older fans are likely to focus on the film not faring well in comparison to the elder Miyazaki's recent work.

Lottery Ticket is likable, and that goes a long way.

Ultimately, that's all Highwater offers - barely explored concepts and short profiles.

The sexual tension is thick between the woodland creatures in Alpha and Omega, an animated children's film with a plot that has more in common with "The Blue Lagoon" than "Bambi."

The Romantics can be charming, and Holmes tackles her meatiest role since the superb "Pieces of April." But the script fails to establish the likability of any of the main characters, which dulls the sense of urgency during the dramatic moments.

Legend of the Guardians sounds as if it were scripted by a team of 11-year-old boys, with too much plot for its 91-minute running time, a script that steals liberally from "Star Wars" and some occasionally eye-roll-worthy weirdness.

Jackass 3D has its moments, but it lacks the ingenuity and hilarity of the previous films - no doubt in large part because of the aging process.

It's a disappointment to see the teen pop star hop in a tour bus. This is a boy who should be traveling across rainbows on the back of a unicorn.

The songs and a couple of strong performances are only good enough to make the film watchable, not exceptional.

The script is weak, but everyone on the technical side of "Soul Surfer" is a pro. The scenes in the water flow together nicely, and the action is always coherent. Robb's scenes without an arm look seamless throughout the movie.

The story is painfully simplistic, and it becomes quickly apparent that the narrative is a crude cement to hold together the carnage.

The core fan base of this English sword battle drama will pay for the boundary-pushing blood and gore. Why bore them with things like plot and context and production values?

Once you're done trying to conjugate the smurfs, there's a better movie than anyone could have possibly expected, thanks in large part to an honest effort by Harris in a thankless role.

Even if it means blowing more than half the budget on animal wranglers, any movie that profiles Saddam Hussein's eldest son and Iraqi psychopath Uday Hussein is incomplete without the presence of his personal zoo. It's like filming a Michael Jackson biopic and leaving out the chimp, Ferris wheel and kid who played "Webster."

By the time the sex actually starts, any sense of tension or anticipation is gone. It's the rare orgy that feels like an anticlimax.

Naysayers have been claiming for years that the "Moneyball" book wouldn't work as a movie. But ultimately, it's the cinematic touches that keep this film version from becoming something exceptional.

Watching this movie is like eating a hot fudge sundae and lasagna in alternating bites.

It's an imperfect facsimile, guilty of borrowing too many ideas from the earlier film, and then executing them with differing results.

The high school comedy/drama morphs into a slasher movie, then morphs into a time-traveling/body-switching/world's-about-to-end science fiction story. Everyone on the set must have been chugging Mountain Dew between takes. I suspect that the editor was hooked up to an IV of the beverage.

Pretty much everything shot by Shepard and co-director David Palmer looks as if it was done in one take. Hit & Run is closest in tone to the Tarantino-penned "True Romance," but it lacks that movie's menace.

Trouble With the Curve has a problem tipping its pitches.

Well written but weakly executed, it's hard to imagine anyone is going to cherish the film, if they even remember it in three months' time.

Innocence and joy are threatened by the Boogeyman, and from there the plot comes pretty close to mirroring this summer's "The Avengers" movie. Mostly in a good way.

Perhaps anticipating an older audience, most of the lessons are one-sided, with the old-timers seemingly harming the children while actually saving them.

The strength is in the performances and visual detail. The flaws are mostly in the script, which asks the youngest cast member to pull off a near-impossible transformation.

Hackl weaves scenes from the previous films into this one in clever ways, without adding to the confusion. The director also does a good job of maintaining the dark tone, which includes FBI offices that look as if they're being illuminated by night-lights, and dungeons that look as if you'd catch a venereal disease or two just by touching the door handles.

It's Valentine's Day! Unrealistic romantic expectations are in the air! And Safe Haven does the unrealistic romance thing pretty well.

The film often stumbles in translation, trying to define too many characters in too little time.

It's a stoner movie all the way, with much deep thought but little active conflict.

It's a homemade protein-and-steroids smoothie of a plot, combining elements of gore, self-parody, 1990s nostalgia overload and an attempt to say something -- while actually saying absolutely nothing -- about the American dream.

Well-polished and well-intentioned, this human-among-the-fairies adventure is filled with plenty of rousing action for short attention spans. But the beautiful visuals are paired with a mediocre script. The pacing is off and scenes become repetitive. While Epic has broad appeal, it's hard to imagine this will be anyone's favorite movie in 5 or 10 or 20 years.

The mockumentary-style delivery of a serious subject proves to be an unworkable mash-up.

Piles cliched character upon cliched character, and then doesn't give any of them very much to do.

Devoid of thrills, and with nothing even vaguely frightening to distract moviegoers, it becomes clear that the story wasn't worth telling in the first place.

At best a little boring and at worst stomach-churningly offensive.

A well-intentioned horror film that is weighted down by stellar cast members who for the most part act as if they don't want to be there.

At times, "European Gigolo" feels more like an international incident than a movie.

The Cave is National Geographic mixed with Roger Corman, and by the end you'll probably be wishing you saw "Red Eye" instead.

The movie plays more like a WB network teen drama than something audiences should be expected to pay to see.

Less an original product than a shoddy tribute to other mediocre cop movies.

It isn't smart or even very scary.

Like most movies based on games, this film appears to have been quite literally doomed from the start.

May be a good tactical move for the artist's career, but it's a bad movie.

A few amusing moments mixed in with the painful ones.

Humorless, confusing and not very fun to watch.

The result is an incredibly disorganized movie with a few funny scenes -- most of which are revealed in the commercials.

Even the element of surprise isn't enough to save this film, which has too many slow parts and features an ending that's extremely tepid by 21st century horror movie standards.

The movie is overly long and much too intense for small children, yet it's filled with dialogue and plot turns that are too juvenile to thrill adult audiences.

It's a movie that scrounges so desperately for laughs, it features both a flatulent moose and a flatulent train.

A film to be enjoyed only by science-fiction movie completists and middle school boys with extreme cases of attention deficit disorder.

It's a well-meaning but ultimately feeble and misguided attempt to say something profound about the aftereffects of the 2001 attacks on New York.

Although the movie doesn't turn the Zodiac saga into a slasher film, it has the look of a straight-to-video movie, or at best a Project Greenlight production.

It's a movie packed with so many idiot characters that Rob Schneider is cast as the cool guy -- and sort of pulls it off.

The result is a well-intentioned mess -- a dishonest fantasy that begins with promise and gets more frustrating with every scene.

This is the type of movie that you should be getting for free on television.

Children will enjoy the physical humor, but discerning adults are advised to pawn their sons and daughters off on some other unsuspecting chaperone -- preferably one who doesn't read movie reviews.

A bunch of gags, most of which you've seen in the trailer, strung together by any means necessary.

Has maybe a half-dozen moderately frightening scenes.

Zoom is a C-list production in every possible way, from the actors and the special effects to the music and the script. Even the product placement is completely third rate.

Crossover has one redeeming quality: a heart that's in the right place. It's a bad movie with a good message -- but does anyone really want to pay $10 for an ABC After School Special version of "He Got Game"?

Doesn't accomplish its objective.

Kind of a bore.

This is the animated children's film equivalent of "Another 48 Hours."

While it's filled with quality actors, this James Bond tale for tweens feels like something you should be getting for free on television.

While "Saw" and "Saw II" were pretty good splatter films hampered by spectacularly unbelievable endings, Saw III is annoying for almost the duration of the movie.

The movie appears to be a contrived, poorly produced attempt to sell more of the author's books.