Truth be told, J. Edgar drags, even when it pays homage to the widely discredited urban legend that the guy liked to dress in drag.

The movie never convinces us that Forster is convinced himself. The director lines up this bad good man in his sights, but he never quite has the nerve quite to pull the trigger.

It’s an American "Love Actually" without the warmth that writer-director Richard Curtis stuffs into his all-star confections, without the wit, without much love, actually.

Hallstrom and his low-heat stars can’t find the pulse of this corpse.

Bell, a petite, pretty blonde, may or may not have the Meg Ryan-Julia Roberts-Sandra Bullock goods. When in Rome, a leaden variation on that rom-com recipe, fails utterly to make her case.

Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.

The polished production sometimes touches and amuses despite its naïve “love conquers all” script.

Cop Out is still funnier than the dreadful later Eddie Murphy cop pictures. But it feels like an homage to a period best forgotten.

It's only a movie, and not a remotely effective one. And for Zellweger, whose "Miss Potter" and "Appaloosa" were barely seen, with "Leatherheads" and "New in Town" further deflating her A-list clout, that's the real shame here.

Overlong and entirely too ambitious in the number of “issues” it tries to cover, To Save a Life wanders all over the place before reaching its very predictable conclusions.

That Disney touch (which even Disney has trouble replicating) is missing. Even the hockey is unconvincing.

A crowded cast of some of the finest actors in the cinema act the hell out of a gimmicky, episodic, hit-or-miss script in Brooklyn’s Finest, Antoine Fuqua’s latest attempt to relive the glories of "Training Day."

A broad and formulaic culture-clash comedy built on fill-in-the-blank wedding comedy clichés.

This is not a bad cast, but whatever wit the script aims for is lost in the queasy details director Miguel Sapochnik found more fascinating.

Aniston doesn’t bring her old A-game to this. But at least she’s not quiet and reserved and no-energy, her approach to too many roles of late. Butler makes the most of his Neanderthal rut.

It's the same movie as the earlier "gotta dance" over-choreographed crunk-and-breakdance epics. Exactly the same.

It's not as scary as it needs to be or as clever as it thinks it is, but the new 3D version of "Piranha" is at least as gimmicky as those fabled 3D films of yore. With all the pointless 3D cartoons and joyless 3D ""Clash of the Titans" conversions, at last here's a picture that tosses its cookies, its coffee cups and its D-cups right in your lap.

There’s nobody delivering the laughs in this arid action comedy.

A dull but harmless big-screen comedy aimed at the youngest movie goers.

Good looking (it was filmed in Winter Garden) but slow and bland, this faith-based tear-jerker is a depressingly unemotional affair, with writing and some of the acting so flat that even its emotionally loaded situations can’t inspire waterworks.

The characters in The Perfect Game speak old school “Hollywood Mexican.” In other words, they speak English with accents that we haven’t heard since the golden Age of Speedy Gonzalez.

On the sliding critter-comedy scale, Furry Vengeance falls somewhere between the Chipmunks and the Chihuahua (the one from Beverly Hills).

It's light in tone, feather-weight. But there aren't many laughs in it.

A generally joyless pastiche of sorcery history, imitation Potter "chosen one" Messianics and mirthless silliness, it's another in a string of recent black marks against Cage's Oscar-owning reputation.

These guys set out to make a movie where they could crack each other up. At this late date, they can't even manage that.

Disney's effort to turn Kristen Bell into America's Sweetheart reaches its tipping point with You Again, a flat romantic comedy that packages her in a funny setup and surrounds her with funny people.

Off the wall? Friend, you don’t know off the wall until you’ve seen five twelve-year-old girl singer-dancers cover the Tina Turner/Phil Spector epic “River Deep, Mountain High” in the screwball kiddie dance comedy, Standing Ovation.

Tedious time-killer of a kiddie comedy.