Dull plod.

If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.

Shot like a Disney period piece (prettily, with spiffy props, shiny vintage vehicles, and costumes just back from the cleaners), Flyboys introduces its squadron the old-fashioned way: with character-establishing setups.

While Choke, adapted for the screen and directed by Clark Gregg, is by no means a disaster, it is disappointing - and oddly dull.

A strange mix of showbiz whodunit and soft-core eroticism, with a couple of fine actors - Kevin Bacon and Colin Firth - wandering around stunned and stoned-looking, as if someone slipped them a mickey.

Despite its haunting artistry and its winning eccentricities, The Shipping News is a vehicle that's still very much at sea.

A knuckleheaded period piece.

Cross "Get Shorty" with "State and Main" - Hollywood hustlers, colorful crooks, crafty poseurs, and a production crew on location - and you have the stuff of The Last Shot. One other thing: eliminate anything funny.

An entertaining history lesson. That is, a history lesson that synopsizes and simplifies a complex life and complicated times into easily digestible panels of action, intrigue, martyrdom and sticking it to the papacy.

Never mind the cool, convincing effects (and they are cool), The Day After Tomorrow teems with illogical action, improbable coincidences. It's pure escapist fare, a popcorn gobbler.

No one is getting at anything in The Strangers, except the cheapest, ugliest kind of sadistic titillation.

A syrupy and extraordinarily ridiculous adaptation.

It is a good hour too long, although it does boast Christopher Walken.

Essentially a series of walking character sketches. The storytelling is slack and lackluster, the cliches rampant.

Stylishly spooky and featuring a hammy, cigarette-sucking performance from Gena Rowlands.

There's enough here to entertain - and gross out - the kiddie crowd, and parental units, too

A jukebox musical that's astonishingly cornball one minute, winkingly sardonic the next.

Anderson, who's turned Brit in a number of TV series and films, including "Bleak House" and "The Last King of Scotland," is compelling in her white lab coat and surgical scrubs, and she brings some real tenderness to her tete-a-tetes with Mulder.

The folks at Disney's Touchstone Pictures would have been wiser, however, just to have forgotten all about this hyperactive farce.

Lakeview Terrace's pretense at exploring racial intolerance has been exposed for what it really is: a B-movie copout.

Hickernell's film aesthetic is straightforward, narrative-driven.

Ambiguous in a satisfying, puzzling sort of way, November offers a triptych of scenarios revolving around a grim moment.

Ultimately, 44 Inch Chest has very little on its mind.

Feels like the cinematic equivalent of the BP disaster in the gulf: It's a big-screen oil spill, a needless gushing of macho bluster and wild set pieces, and a waste of millions and millions of dollars.

Around the Bend doesn't inspire one to care.

What distinguishes The Dilemma in this genre is its resounding unfunnyness, its emotional dishonesty, and the general unlikability of its cast of characters.

An international caper with James Bond and Tom Clancy overtones - and Austin Powers undertones, too.

This glum and grandiose new King Arthur has little to do with the Camelot monarch we've come to know through books and film.

There isn't a real, flesh-and-blood figure in the bunch. Everything about Red Tails - the breaking down of racial barriers, the military achievements, the courage and sacrifice - is diminished in the process.

Lightweight, likable buppie romantic comedy.

As a thriller, In the Cut, with its red herring characters and plot twists, turns dopey and predictable. As a portrait of a single woman, burned by love and wary of what's in store, Campion's movie has its trenchant, telling passages.

Satire should be knife-sharp and whip-smart, and The Nanny Diaries never is.

The film never gives you a real sense of what drove Darin on, fighting a heart ailment (from childhood rheumatic fever) and fighting an industry and press that wanted to pigeonhole him.

Occasionally clicks into full-speed farce mode, but never for long - or for long enough.

Bloody, bone-chilling fun.

McKellen, Hanks and Tautou - and Alfred Molina, as a bishop with an agenda - are no slouches when it comes to emoting, but screenwriter Goldsman's rigorously faithful interpretation of Brown's flatfooted prose stylings is the filmic equivalent of putting big chewy baguettes in the actors' maws.

The picture uses humor and a heartfelt conviction to tell a story about discovering your destination in life.

It's a big stuffed turkey of a movie, just in time for the holidays.

Diaz works that trademark mix of ditziness, sexiness, and brassiness.

This In-Laws feels, in the end, formulaic and unnecessary, especially when the original is yours for the renting at the video store.

The Farrellys manage to have their cake and scarf it down, disgustingly, too.

Boasts exceedingly high levels of improbability and an embarrassment of continuity and character shortfalls, but still has a certain bubbleheaded charm.

A slasher spoof of sorts, except that unlike the "Scream" pics, scant effort seems to have gone into the spoofing aspect of the story.

Another high school vixen movie, this one with a potty mouth (the vixen) and pretensions of social commentary (the movie), Pretty Persuasion brings to mind a number of other titles, all better.

Shot in Panama, with a cast of local Indians and B-tier Latino and Anglo actors, End of the Spear has neither the marquee heft nor the artistic gravitas of "The New World."

Hoodwinked may be a poor cousin to the Shrek franchise, but this made-on-the-cheap computer-animated feature still has more style and snarky gags than Disney's recent CG hit, "Chicken Little."

It's "The Deep" reimagined as an Abercrombie catalog.

Shows glimmers of great drama, but jettisons too much essential cargo (character development, relationships, plot, common sense) in an effort to be lean and clean.

Mostly about delivering thrills, and chills, and this it does with moderate success and a bunch of fast, no-nonsense edits.

The closest FF:ROTSS gets to wit is when Johnny convinces a reluctant Reed to attend a bachelor party, after promising the uptight groom-to-be that there won't be any "exotic dancers."

Easily one of the loosest, most satisfying comedies to hail from the prolific writer/director in a while.

For a while, Firewall whips up the accordant dollops of suspense and dread, but it's not long before the timely issue of identity theft takes a backseat to old-fashioned Hollywood villainy, unnecessary (and nonsensical) red herrings, and STUFF THAT DOESN'T MAKE SENSE.

Entertainingly creepy.

Elevated beyond its cutesy contrivances and mawkishness by some extraordinarily good performances.

A modest and obviously heartfelt endeavor.

An unfortunate collision of earnest coming-of-age cliches and off-key acting, Evergreen almost, and certainly unintentionally, presents itself as parody.

Frankly, the wow factor isn't that great.

The Paperboy is over-the-top every which way you look.

If the moral of Click is a stop-and-smell-the-roses bromide about how family comes first, the real message of this sappy, potty-mouthed seriocomedy is that a steady diet of Drakes and Hostesses will do you no good.

Murky and grainy, and showing human beings at their grimmest - thievery, rape, betrayal, murder - Blindness is no barrel of laughs. But it IS a barrel of pretentious metaphorical musings.

Gritty, jumpy and rife with cliches.

The moral of Taken 2? If you're going on a family vacation, be sure that the human-trafficking ring you put out of business in that far more satisfying and suspenseful thriller from a few years ago doesn't know how to find you.

Aimed at teens and tweens, the almost-squeaky-clean Step Up 3-D shamelessly piles on the corn, stacking it so high that it's bound to tilt over and collapse.

Visually dazzling but ultimately dizzying ride, a trippy suspenser that gets tripped up on its own deja vu voodoo.

The Situation deserves credit for not trying to reduce the events in Iraq to facile equations. There is corruption and cynicism on all sides: the U.S. diplomats and military, the Sunni leaders, the thugs in cop uniforms, the local powerbrokers.

For its amusing premise, Fanboys is scarily flat.

The playwright, actor, director and drag queen (yes, his bewigged and be wild Madea makes a brief and totally gratuitous appearance in his new film) knows how to give human dimension, and a dimension of humor, to the cliches and stereotypes.

One moment it's farcical comedy, the next it's gruesome melodrama. The movie never finds the right tone.

For soccer aficionados, Kicking & Screaming boasts some fairly cool play, courtesy of Alessandro Ruggiero and Francesco Liotti, two kids who play "the Italians."

Hesher has its genuinely affecting scenes, but too much of the time it feels false and shallow.

Someone should check Joe Carnahan for performance enhancement drugs. Smokin' Aces, the wild ride of a movie he scripted and directed, is so pumped up, manic and mayhem-packed that it practically shoots sweat off the screen.

A likably energetic star vehicle for English sports god Vinnie Jones.

The trailers already have given away the "surprise" cameos in The Expendables, so try not to blink when Stallone goes into a church (shades of John Woo) to meet his mystery boss, played by a bald-pated, trademark smirking Bruce Willis.

Directed by Clark Johnson in an efficient and occasionally exhilarating style that points to the Emmy-winner's TV cop-show pedigree ("Homicide," "The Wire," "NYPD Blue").

There's nothing Disneyesque about this bomb except the forced levity of its musical score.

A meditation on guilt, remorse and redemption -- is unrelentingly heavy.

What this arid and arty exercise offers is the opportunity for a bunch of actors, many of them tethered to TV series, to deliver theatrical monologues pulsing with misogyny and narcissism. It's like second-rate Neil Labute.

Krueger's comedy doesn't always spark, but its underlying intelligence - not to mention Graham's eyes - shines through.

Feels thoroughly canned.

Completely unappealing people.

Where Mike Figgis' film, with Nicolas Cage and Elisabeth Shue, bore deeply and darkly into emotional territory, The Center of the World turns out to be just as fake as its setting.

Watts, who is one of the film's executive producers, brings a taut intelligence to the proceedings, but her character, like Roth's, is more archetype than actual person.

A creaky, cliched, feel-good family drama about learning to stop and smell the roses - and planting a vegetable garden while you're at it - Uncle Nino is shameless, sappy fare.

Entertainingly goofy for about 30 minutes. And then, for the next two hours-plus, it's agony.

Cute, cloying and catastrophically predictable.

Illuminated by dim candles and the rare glimmer of sun, the movie is grainy, closed-in, and likely to cause spasms of claustrophobia.

The script is boilerplate, the wit pretty much witless.

Dizzyingly incoherent and subversively surreal, this sophomore effort from the man who made the great, strange "Donnie Darko" is certain to have its fans. I'm not going to be one of them.

The best reason to see Along Came Polly is the supporting cast.

Christopher Walken has the best moments in the whole thing, portraying the wacked-out auteur of the Gwen-and-Eddie vehicle. Sadly, he's only in America's Sweethearts a few hilarious minutes.

Loaded with careening car chases and rooftop runs, glass-shattering shootouts and exploding fireballs, Killer Elite offers more than enough to keep action junkies happy.

What Eagle Eye wants to do is show us technology's dark side: all the stuff that's there to make our lives easier - ATMs, PDAs, iPods, GPS, cell phones, PCs, "smart" houses - turned against us in a vast conspiracy.

Think Jerry Lewis doing Eminem, or maybe it's Eminem doing Jerry Lewis (or maybe it's Pauly Shore doing Vanilla Ice), and you've got B-Rad.

"Lousy times make lousy people," someone opines, and maybe that's the point Romero's trying to drive home.

A comedy about friendship, faith and the acting life, Le Grand Role is unabashedly corny and tear-jerking - and still quite likable.

This violently comic caper has some spunky charm going for it -- but has a lot of self-consciously hip, studied wackiness going against it.

In Jersey Girl, Kevin Smith wears his heart on his sleeve - and on his pants, socks, boxers and backward-facing baseball cap.

It's the emotional equivalent of a big shrug.

Ready-made for Valentine's Day, The Vow is, like the offerings at Cafe Mnemonic, a total sugar overload.

Forte and company have managed to make crude and lewd dunderheadedness laugh-out-loud funny here and there, and that, I guess, is something of an achievement.

With the raunch quotient cranked up several notches, the sequel is calculated, cynical and, worse, not funny.

Whether he's smacking into an iceberg or flopping topless onto a sandy beach, DiCaprio is still maddeningly lightweight.

Strip away the video-game visual effects, the endless chases and zero gravity shootouts, and Total Recall comes down to this: What is reality?

There are chases that feel way too long, and dialogue that feels flat. Affleck and Thurman make a handsome duo, but there's no spark between the actors.

The Wolfman feels like a film reedited and reworked so many times it has lost all narrative rhythm and suspense.

This tale of a white mother's kid gone missing in a black New Jersey neighborhood - and the tensions and news media attention that ensue - is pretty much pure jive.

There's a sign on the way into Norway, or at least a sign that somebody from the film crew put up: "On the eighth day, God created baseball." If amen is your answer to that, then The Final Season is the movie for you.

Laced with a venomous wit, and turning progressively creepier as it unfolds, writer-director Jon Reiss' movie offers a black-humored study of suppressed rage, sexual gamesmanship, domination and subordination.

With visual nods to Stanley Kubrick's "The Shining" and a fairly faithful adherence to the tenor and tone of the Korean scare genre, The Uninvited doesn't startle and shock so much as it lulls you into a series of unsettling, hallucinogenic set pieces.

A noisy, not particularly charming collection of skits and skirmishes.

By the end of Machine Gun Preacher, its title character has become a cartoon.

Does the world really need another movie about a married guy wandering blindly into an affair, or the married gal who can't decide whether to remain faithful or fool around?

Taylor Hackford directs crisply, unpretentiously. Patti LuPone goes Latina, playing Lopez's soap opera-addicted mom, and Bobby Cannavale is a Palm Beach cop with an eye for Leslie. The action is fast and furious.

To say that The Grace Card piles it on is an understatement of profound dimensions.

The title Brooklyn's Finest is drowning in irony, of course, but Fuqua's moves are less obvious: His film is classical and gritty, his violence makes you want to duck and run.

Somewhat fleeter and more engaging than its predecessor.

Offers a gripping mix of sexual heat and nasty menace. It's "Dead Calm" meets "Very Bad Things," with English accents.

It doesn't help any that Wahlberg, looking perpetually dumbstruck, is among the clunkiest line-readers working in movies today.

Doesn't take itself seriously, and that's a good thing.

The film, in its early going, also has a nice light humor about it, and an engaging, albeit tragic, love story.

Grisly stuff. The movie, shot in Australia with an Aussie and British cast, makes "127 Hours" look like a walk in the park.

Barnz tries, at least a bit, to acknowledge the heroic and historic legacy of the union movement and its rightful place in the contemporary labor landscape. But much of the blame for the sorry state of Adams Elementary, and the school system at large, is placed at the union's feet.

Brought to the screen with a mix of jaunty humor and jagged violence that should have worked more effectively than it does.

Trade comes off like TV-movie sensationalism, sidetracked by distracting backstories and hard-to-swallow plot twists.

I'll be darned if I can think of a more excruciating, ponderous, remarkably unfunny and inert cinemagoing experience to come down the pike in ages.

How'd this thing get made?

From the street corner to the boardroom to the White House, the same paradigms are in play, Brown argues.

Morel and his crew certainly know how to stage action: the fight scenes and shootouts, the stairwell pursuits and motorway mayhem, are as good, if not better, than anything to come out of Hong Kong in a long time.

The problem with NATM:BOTS is that Stiller, Adams, and company seem to be pretending that they're having fun, too.

Wildly ridiculous and thoroughly entertaining thriller.

Nostalgia for the '80s - big hair, Madonna, cocaine, big hair, Duran Duran, more cocaine - is all well and good. Unless it's practiced with the charmless ineptitude of Take Me Home Tonight.

Laughably bad adaptation of a Guy de Maupassant novel.

Taken for what it is - 'tweenage escapism - Stormbreaker is moderately fun.

Kilcher is lovely. But sadly, Ka'iulani is a perfunctory biopic of the sort one might encounter on television during Women's History Month.

Knowing has about a half-dozen screenwriter credits, which may explain why scenes crash up against one another - smart, stupid, far-fetched, compelling. And the trouble is that Cage walks (or runs) through them all, treating each with the same level of intensely goofy seriousness.

Too cute for its own good, Larry Crowne is nonetheless hard to dislike.

An enjoyable throwback to the way monster movies used to be made.

TMNT has a cool, noirish sheen. There's an attention to detail in the visuals and sound design that pushes it up several notches above most kiddie fare. It's not art, dude, but it will do.

The Spanish actress Marina Gatell is exotic and engaging as a young writer drawn to Lorca and puzzled why he is not drawn to her in return.

A slick, stylish hardboiled caper filtered through a druggy haze and borrowing a bit of a "Memento" revenge motif and "Pulp Fiction" playfulness.

Elegiac and corny and not really convincing on any level (especially when it comes to its treatment of women - be they hookers, or waitresses, or girls on the town), Stand Up Guys nonetheless holds some fascination just for the off-the-charts affectedness of Pacino's performance.

It's sick. It's stupid. But it also is undeniably adept at skewering social hypocrisy, lancing the boils of political self-righteousness, and poking fun where others fear to tread.

Tries too hard to be playful and sensual, wacky and romantic, and comes away feeling fake and prefabricated instead.

Drawing comparisons to "The Wire" may be unfair, but taken on its own, this anemic vehicle for Ice Cube and Tracy Morgan to mug and jive through is just weak, weak stuff.

Any semblance of seriousness and verisimilitude suggested by the marketing campaign is quickly forgotten once director Antoine Fuqua's enjoyably tacky Die Hard-on-the-Potomac gets under way.

It's all very deep, but in a tricked-up, art-directed sort of way.

Rourke and Roberts! Dueling kings of B-movie excess and cable-TV schlock, together again on the big screen! Talk about chemistry!

There are winning scenes between Wilson and the three teens as they train in various martial arts (like Mexican Judo - "as in Ju-don't know who you're messing with!") and get tips from clips of "Fight Club" and "The Untouchables."

Almost absurdly quiet and observant, The Limits of Control is about the space between the action, the steps along the way.

A wickedly funny, Naked Gun-style parody that conflates old-style private-eye pics with Shaft and, yes, Rudolph, the Red-Nosed Reindeer.

If Running Scared had come out in 1994, before "Pulp Fiction," it - and Kramer - would be hailed as blazingly original. But questions of originality notwithstanding, there's plenty of blazing going on here.

Just about the only folks likely to find this humdrum hybrid of "Mission: Impossible" and "The Wind in the Willows" worthy for consideration are non-discriminating pip-squeaks.

Wild Target is the sort of farce where nothing, essentially, is at stake, even as cars crash (including an original Mini Cooper), bullets rip, and knives get hurled with deadly velocity.

It's fun to watch Keaton and Kline together, bickering and (of course) bonding all over again.

An enjoyably goofy hybrid of extraterrestrial sci-fi and Iron Age action, Outlander boasts a super-serious Jim Caviezel in the title role

Isn't exactly fraught with psychological depth and nuance, but as a stalker-stalkee suspenser, the pic has some nice things going for it.

More a deification than a documentary.

Penn's over-the-top tirades and bullying threats are still there - it's a wild and woolly performance that isn't always as menacing as perhaps the actor intended it to be.

Owen is all right as the harried husband whose relationship at home has turned frosty, but the essential heat between him and Aniston is missing. The actress succeeds in shedding her "Friends" persona, but there's something missing here, especially as things get knottier.

The offbeat comedy is not entirely devoid of charm, but its derivativeness is almost embarrassing.

Feels like it's been homogenized and Hollywoodized to death.

A lazy assemblage of sketch-comedy raunch, mock-schlock TV ads, and ideas that even the writers of "Mall Cop" and "Observe and Report" would have tossed.

Charged up with stormy melodrama.

There's nothing remotely fantastic about this Fantastic Four.

A bummer.

Shaquille O'Neal and Dr. Phil open Scary Movie 4 with an achingly unfunny couple of minutes of severed limbs and errant hoop shots.

A pity-party of Hollywood narcissism.

Cold and stylish, slick and violent.

Catastrophically overdone.

From its jungle forays to its waterfall tumbles to its deadly spider bites - is entirely, utterly unoriginal.

Has its effectively nasty, chilling moments -- and it also brings body piercing to new heights of ickiness.

By the end of the film's two-hour stream of Be-Here-Now-isms, anyone left in the audience will be wanting to yell, "Put a sock in it!" to old Soc.

Beastly offers a thoroughly dopey reread of the "Beauty and the Beast" fairy tale.

There's little of the seen-it-all, wise-guy acerbity that made his character in the X-Men trilogy stand apart from his fellow mutants. Here, he just glowers.

Obama, it is implied, is deliberately making America more vulnerable to attack from Muslim extremists. No mention is made of the fact that it was under Obama's watch that Osama bin Laden was killed.

There's nothing original, nor compelling, about Twist.

The film has been directed in a murky, rhythmless fashion by Niels Arden Oplev.

Clash of the Titans is ancient Greece at its cheesiest. It's a big hunk of feta comin' at ya in 3-D.

Although Will Ferrell materializes for a goofball cameo, The Goods: Live Hard, Sell Hard lacks a key element that his "Talladega Nights" and "Anchor Man" both had - that is, somebody to like.

What a mess.

A stagy, arty, and uncompelling account of the Welsh writer and his menage-y relations.

While The Sitter isn't that dumb, or dreadful, there really isn't much going on here.

What a mess.

Harry Connick Jr. acquits himself best of the lot.

Often incomprehensible (a combination of jumpy editing and lots of thick British Isles accents) and hardly ever entertaining - even unintentionally.

An uninspired computer-animated feature that may satisfy undiscriminating pipsqueaks and nearly no one else, Planet 51 is a low-IQ E.T. in reverse.

Efron, who wears an "All glory is fleeting" tattoo on his back and a soulful look on his face, gets to be more of a grown-up in The Lucky One than in most of what he's done before.

The kind of glossy, Hollywood-forged waste of time that would depress even the most happily lackadaisical retiree.

If Taking Lives starts off with a modicum of wit and creepy-crawly scares, it winds up somewhere else altogether: in the cliche-strewn land of preposterous red herrings.

An overblown hodgepodge of volcano-baked desertscapes, Egyptoid-gone-baroque architecture, and gladiator-geared storm troopers with goofy headpieces, The Chronicles of Riddick bears no resemblance to the movie that spawned its namesake.

Empire, with its double-barreled shoot-outs, its predictable carnage and conflict, and a rush-job of a resolution, is ultimately just one more urban gangland genre flick.

Beyond turbocharged. It whooshes along at warp speed. And still, despite some awesomely choreographed stunts and the two stars' pedal-to-the-metal appeal, the movie seems endless.

Even at just 90 minutes, Balls of Fury - with its caricatures of the Asian underworld, with its G-man malarkey and gay jokes (Feng keeps an all-boy bevy of sex slaves) - begins to outstay its welcome.

The best thing about The Life Before Her Eyes, a somber meditation on fate and friendship, is the way it captures the close relationship between two teenage girls.

I nodded off watching Just Visiting.

The real Radio, and the real coach -- seen together in the movie's feel-good epilogue -- deserve better.

What Never Die Alone is is a hackneyed tale of vengeance set in the 'hood, teeming with stock characters, slo-mo gunplay, and rampant misogyny.

As Hopkins himself goes wild-eyed and FX-ed with popping veins, The Rite gives up on asking us to take it seriously.

Yes, bestiality in a PG-13 movie. It's the end of life as we know it.

Laughably predictable and lamentably unfunny, Laws of Attraction practically creaks from the effort exerted by its cast, straining to bring snap and panache to a hackneyed exercise. Sno Ball, anyone?

As a piece of filmmaking, What the Bleep isn't exactly transcendent stuff. But as an entryway into new ways of thinking about the self, the universe, and the vast infinite whatnot of whatever (you know what we mean, oh wise one), this little movie is big.

Chan's signature mix of screwball comedy and gymnastic derring-do landed him his own cartoon series a few years back, and The Medallion -- with its bumbling spies and bounding star -- is about as cartoonish as live action gets.

Williams, going full throttle as the desperate deposed kiddie icon Rainbow Ralph, is, well, simply exhausting.

A forced-march comedy.

Full of kerplunkingly unfunny jokes and ex-"Saturday Night Live" cast members turning up to do shtick.

Amazingly, though, Brian Klugman and Lee Sternthal, cowriters and codirectors of The Words, have the audacity - and the skill sets - to pull this all off. They wrest emotional truth out of hokum. They also wrest intelligent, nuanced performances from their cast.

The film is just middling. A clever line here and there, a debonair Dempsey wink, a cute Monaghan nod, and another Bill and Monica reference to tie things all together.

An astoundingly senseless thriller.

Connoisseurs of giant, gnarled chunks of charred flesh, rejoice! There's plenty of it -- or stuff resembling it -- in the slasher-fest convergence of two killer franchises.

How to count the ways that Be Cool isn't? For one thing, it looks terrible: grainy, ill-lit, edited with blunt, rusty shears.

An alarmingly charmless attempt to evoke the elegant romance and jaunty, jet-setting intrigue of the aforementioned titles, The Tourist is notable for the total absence of movie-star heat that movie stars are paid unseemly sums to radiate.

Ultimately, Evan Almighty is too sappy, too sanctimonious.

The cast, especially The Game, does a fairly good job with this meager material, but it's like trying to make chateaubriand out of Spam.

Until Seven Days in Utopia sucker punches you with a surfeit of faith-based platitudes, its upbeat brand of golf mysticism isn't altogether unappealing.

A tale of disaffection, devastation and epiphanies of the catastrophic kind.

In essence, a wild soap opera disguised as a political allegory, it's a movie, with its over-the-map performances, that is worth catching only for the inadvertent laugh or two.

Fails to provide one essential ingredient: suspense.

A squirmy mix of therapy-session slogans, pop psychobabble, and lots of crying, yelling and pouting on the part of its two stars, who appear in various alarming hairpieces.

Despite some jaunty performances and its pretty Cotswolds locale, the film, in the end, is hardly a pleasure at all.

Speed Racer offers a crazy, turbo-charged mix of cartoon kitsch, gamer action, and a wild new way to think of - and look at - movies.

The whole affair has a painfully self-conscious, self-referential air. Jokes land with a thud, and so, alas, does Rocky, who seems to have forgotten how to fly.

A riotously awful biopic rife with stereotypes and boxing movie cliches, Against the Ropes represents -- among other things -- a woeful turn in its star's career.

This startlingly lame tale about a young upstart challenging a veteran leader of the pack doesn't update the genre, it simply recasts it.

This low-budget, high-gore sequel can be effectively frightening at times, and just plain boring, too. The suspense builds, the blood gushes, the momentum dissipates. It's an unsatisfying mix.

Yes, there's a hastily added new ending - an ending that doesn't make sense when you think about it. Not that it's worth the effort

A harmless and mildly amusing family comedy.

This heavy-handed muddle of a cop thriller is just impossibly bad.

"The Godfather" without Brando, "GoodFellas" without Scorsese, "The Sopranos" without Gandolfini - 10th & Wolf is all that, and less.

The script appears to have been designed, created and produced entirely in 1-D: a mishmash of kidcentric antics, follow-your-dream cliches, and innocuously icky humor.

8 1/2 Women is a collage-y, self-reflexive sort of film that is designed to shock but more often just annoys.

Lady in the Water boasts an eclectic cast - almost entirely squandered.

Death Sentence's message - that vengeance is ultimately futile, spinning out a vicious circle of rage and hate - may be commendable, but there's nothing noteworthy about the way Wan, Bacon and their troops go about delivering it.

A handsomely staged and craftily constructed tearjerker.

Painfully cute drama.

Reality aside, The Watch is harmless enough - and even occasionally humorous, in a riffy, sketch-comedy kind of way.

Nasty stuff. It's xenophobic (message: Americans, steer clear of the Third World); it's photogenic (the Sports Illustrated-likeswimsuit issue beach scenes, the colorful villages, the lush landscapes); it's gruesome (operating table POV shots); and it's violent.

An effectively unsettling mix of Southern gothic and Old Testament hugger-mugger, with shades of "The Exorcist" and even "Rosemary's Baby" thrown in.

With clunky dialogue...I Am Number Four puts the burden on its special effects (passable) and the chemistry between Pettyfer and Agron.

Level of humor: subteen.

Domino is less a movie than a hyperkinetic slide show - presented during a nuclear attack.

Push has a cool, sinewy style, energy to burn.

Williamson's screenplay doesn't match the cleverness of his conceit; it lacks the requisite archness and wit.

An embarassingly unfunny, stumblebum adaptation of Toby Young's memoir.

The movie's main purpose seems to be to make audiences squirm uncomfortably. Yelp and shriek in armchair-clawing glee? Not likely.

Stiff but handsome film, there's little sense of the conflict and complexities that drove Alma Mahler.

Ma Mere, with its sun-drenched sense of dread and band of reckless, unlikable characters, isn't very good, but that doesn't stop the actors -- especially the intrepid Huppert -- from going all the way.

Ostensibly a comedy, and a feeble and innocuous one at that, Post Grad is one of those what-were-they-thinking?

Instead of paying homage to these creepy creatures of bygone Hollywood, Sommers seems to be unwittingly lampooning them. The first few minutes of Van Helsing, shot in black and white, look like outtakes from Mel Brooks' gagfest "Young Frankenstein."

While this cheesy, heavy-metal melange of horror, space hooey and cowboy shoot-'em-ups isn't exactly dull, it isn't anything to write home about either.

In some ways, Identity Thief is a raunchier variation on another recent odd-couple road pic: Barbra Streisand and Seth Rogen as overbearing mom and nebbish son in "The Guilt Trip."

A crazed symphony of the supernatural. The elements don't hang together, but Kasdan delivers real scares, and real hoots, in the midst of the mayhem and madness.

What Hannibal Rising is, mostly, is a hoot.

That the film, directed in swift strokes by F. Gary Gray from a screenplay credited to Kurt Wimmer, doesn't really work - unrelentingly grim, unintentionally funny - is almost beside the point. It's a wild concept.

A mildly scary, totally meaningless excursion into the realms of psychological horror and alien-abduction conspiracies.

Filled with close-ups of Jesus and his apostles (all the better to hide the absence of elaborate period sets), mixing quotes from the Scripture with flat exposition, this low-budget affair is earnest and, alas, more than a little bit cartoonish.

Has to be among the worst movies ever made.

Too freewheeling for its own good, like a Robert Altman ensemble piece without a gravitational core. But Hawke's actors are a talented troupe, and even when things get self-indulgent and fuzzy-headed (and boy, do they!), interesting stuff is going on.

"Kill Bill" without irony, and without Quentin Tarantino's flair for cool dialogue and chop-socky action (and without Uma Thurman, for that matter), Elektra is a pretty-looking, pretty dull adaptation of the Marvel Comic about a dishy, deadly assassin.

A mercifully fleet and lamentably uninteresting adaptation of the DC Comic about a war-weary Confederate soldier.

A by-the-numbers extravanganza that journeys from London to Venice to Siberia to Cambodia without ever really going anywhere.

As for Duff, she's bright-eyed and bubbly, though her singing talents are nowhere near as awesome as Raise Your Voice's who's-going-to-win-the-big-scholarship plotline requires.

Bedtime Stories does have a comic buoyancy, even as its plot trots on a predictable course. Perhaps the different accents and sensibilities have something to do with that.

Murderously unfunny.

Hands-down the most nightmarishly awful film of the year.

Uptown Girls gives the impression that everyone behind the camera just threw up their hands in helpless resignation.

If that sounds a lot like Rushmore, it is, except that the heart has been sucked out of the thing -- replaced by glib chatter, gratuitous Baudelaire references, and distracting product placement.

Plays around with some interesting notions, such as the nature of reality, the nature of humanity, and the nature of spiffy apartments with sleek bathroom fixtures.

A stale and stupid thriller.

Sandler, shambling and smirky, delivers another of those one-take performances of his - likable and lazy, forever on the verge of cracking himself up.

Manages to rocket along at full speed. At the same time, however, the movie feels as if it's not going anywhere at all.

Some of the most tasteless and un-PC comedy in the film is also the funniest - Farrelly Brothers-style humor that plays off the Bateman character's physical limitations.

The ads for The Sweetest Thing promise that if you loved "There's Something About Mary" and "My Best Friend's Wedding," then you can't miss this latest Cameron Diaz vehicle. Well, miss it.

This is no "Raging Bull."

The film quickly turns unintentionally, and unrelentingly, awkward.

Not exactly a hundred million dollars' worth of classic comedy.

A flat-out cynical attempt to launch a new Lethal Weapon-like franchise.

They has a low-budget, generic feel -- but also enough sense to know that unseen menace is a lot creepier than explicit gore.

Hobbled by a laughably bad script and a uniformly uncharismatic cast.

An unintentional high-tech hoot.

Envy makes a pretty entertaining three-minute trailer. If only they'd left it at that.

The movie bogs down in tiresome good guys vs. bad guys action cliches.

Plot contrivances, including an ominous cowboy-hatted figure who stalks Bitsey and her tagalong intern (Gabriel Mann), undermine the story's serious political themes.

Doesn't run very deep, or resonate with profound meaning. But as a thoughtful fable, laced with humor, the picture has its charms.

Maybe if there was something going with the dialogue - snappy Chandlerisms, say, or even just sentences that made sense - the fussy digital artifice of The Spirit wouldn't seem so, well, dispiriting.

Has a low-key tone that works in its favor for a time.

Parents in a masochistic mood can compound the headache-inducing experience by paying extra for the 3-D version.

This is an A-list cast toiling on a C-list screenplay.

The film drifts along on a stream of humiliation jokes - physical, emotional, sexual, hairpiece-ial.

Profoundly knuckleheaded.

It has its moments of swaggering camaraderie, but more often just feels generic, derivative and done to death.

13 Ghosts is the type of project that all parties concerned will have to live down for the rest of their lives.

Premonition is an odd little thing, with a protagonist in a protracted fugue state and a plot that doesn't know whether its coming or going. Or maybe it does.

Travolta, a bit portly (or is it starboardly?), phones in his performance from his place in Maine; Vaughn is ice-cool but not especially convincing; the kid is OK, and Polo is a blank.

This unabashedly stupid comedy is, well, unabashedly stupid.

An enjoyably cheesy teen melodrama with a touch of indie edge.

It's nothing if not predictable.

Trapped between edgy art flick and exploitation psychothriller, The Quiet manages to be neither, and manages to be pretty awful in the bargain.

Scary Movie 2 has something for potheads and the potty-mouthed alike. Anyone looking for a true sequel, however, will be disappointed.