In our chatty "Game of Thrones" moment, you'll thirst for a sidekick: a sly dwarf, a wisecracking female warrior, a huggable wolf, anything. Solomon Kane has none of these, and even heavyweight speechifiers like Max von Sydow and the late Pete Postlethwaite (that's how old the film is) have little to gnaw on.

The problem is that the filmmaker brings D-grade craft to these B-movie exertions, making his florid maximalism more entertaining to talk about than endure - despite the best efforts of his ardently slumming A-list cast.

It's too bad V/H/S starts off on such a high note. Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.

If its juxtaposition of bad behavior and dairy products leaves you stone-faced or wearily sighing, you should exit the theater posthaste.

The novelty of their industry aside, there's little to differentiate this from any other relationship-centered Amerindie.

Lovers of the TV biker drama may find pleasure in the duo's surreal scenes together, but everyone else will likely view this story about a writer (Hunnam), his film-obsessed drug-addict brother (Chris O'Dowd) and a viral amateur-porn movie as one limp farce.

You never lose the nagging sense that you're simply watching a high-school drama club's production of '40s fatalism chic.

For a film about sexual conquest, Nobody Walks is a frustratingly flaccid affair.

Eventually, the self-regarding acting clan admits they're only human after all. By then, the audience may want to disown them.

The Flat details his efforts to understand this unusual situation, and although the film suggests that his relatives may have maintained this odd friendship as a denial of their homeland's betrayals, there's only so deep Goldfinger can dig.

Huppert fans have long been tolerant of her hit-and-miss filmography, and while her double act with the rubber-faced Poelvoorde provides a few well-played scenes-two words: horsey rides-it's not enough to liven up a trite story of loosening up.

If director Stephen Fung's frenetic visual style is the Red Bull in this cinematic cocktail, then the dozy plotting is the vodka - leaving you feeling momentarily excited but ultimately narcotized.

This is little more than an episode of VH1's Classic Albums writ large. You'll learn everything you ever wanted to know about the making of this chart-topping behemoth - except for insights about the man in the mirror who created it.

Apart from a hi-def night-vision gimmick, returning directors Henry Joost and Ariel Schulman don't take advantage of either upgrade.

For all of Cloud Atlas's pseudorevolutionary blather about upending the "natural order," the execution couldn't be squarer.

Coyle's got charisma to spare - imagine a hard-man version of Andy Serkis - but even his screen presence eventually gets smothered by the film's cartoonish version of ethnic gangsters, macho caricatures and bruised-heart-of-gold hookers. The phrase accept no substitutes has rarely seemed so applicable.

Such a feature-length bludgeoning, even in the service of basic social and scientific literacy, is truly discomfiting.

The Black Tulip is noteworthy for its existence alone - and not, unfortunately, for much else.

This Nickelodeon production may be designed for short attention spans, but must the characters have them as well?

Vamps is commendable, even moving, as a raw-nerve confession of anachronism - but it's also what keeps this strained satire from drawing any real blood.

If only writer-director Jacob Aaron Estes had bothered to dig a little bit deeper than those damn raccoons did.

A coda shifts to video footage of Cleese's irreverent eulogy; you wish the whole film could have been as slyly somber. It's what the colonel would have insisted upon.

The story of a young woman (Juno Temple) discovering that she is both a lesbian and a werewolf, Bradley Rust Gray's oddball horror parable starts with an irresistibly trashy premise and proceeds to treat it with the po-faced pretentiousness of a film-school thesis.

Neither totally impartial nor a puff piece, Varon Bonicos's documentary on fashion icon Ozwald Boateng nonetheless evinces a minimal amount of interest in digging into what makes its subject tick.

There are a million coming-out stories in various naked cities, and filmmaker Bavo Defume's contribution to the genre initially differentiates itself with a vibrant, creatively campy color scheme. Once the visual touches fade away, however, there's nothing to stop the parade of clichés.

Both the martial arts and the slightly dull narrative patchwork are too choppily edited to gain much of a foothold.

No amount of eccentric Americana (or slyly marginal inventiveness) can salvage this strangely lifeless - and largely laughless - gonzo comedy, which is doomed by a flimsy script, one-dimensional characterizations and distractingly inept child acting.

Intrigue and eroticism abound, all of it watchable, none of it particularly exciting. And the misty widescreen photography lends the proceedings a funereal air of respectability that's like catnip to Oscar voters.

Despite committed and heartfelt performances - especially from the perennially charismatic Peters - director Lisa Albright's soapy semi-autobiographical tale fails to scale the low hurdle of believability.

Revenge may be a dish best served cold, as the novel suggested, but steamy adaptations simply can't be doled out lukewarm.

The more the visual ephemera piles up, the more the emotional thrust of the story gets buried beneath all the monotonous pageantry. (Anna's many tête-à-têtes with her two lovers - especially a should-be-dizzying dance-seduction scene - are frigid pomp without any real heat.)

Mea Maxima Culpa only gets messier the more it tries to iris out to a larger indictment. The central tragedy ends up diluted to a fault.

This isn't a film, it's a recording of canned ham-tasty, certainly, but creaky nonetheless.

The movie succeeds in generating only mild outrage, tempered by impeccable tastefulness and the safe distance of time.

As billion-dollar Hollywood franchises go, this is one of the drawn-out dumbest. The stake through the heart comes not a moment too soon.

Too-cutesy conceits such as Hitch's imagined conversations with serial killer Ed Gein (Michael Wincott) feebly attempt to ground the story in psychological terra firma, while horribly on-the-nose dialogue flatters those viewers who prefer to keep their sense of cinema history on fan-mag frivolous levels.

The voice work sounds more quick-paycheck than impassioned, and the animation rarely rises above video-game cut-scene quality. As revisionist holiday fables go, you're better off watching Aardman's delightful "Arthur Christmas" than this lump of coal.

A new Red Dawn could have been so much more fun had it thrown a properly out-of-bounds tea party. (It lacks the signature brawn of original director John Milius, a guns-first libertarian.)

Helnwein's elaborate vision bumps up against practical concerns and meets with resistance - a conflict that this superficial portrait glosses over almost as much as it reduces Helnwein to simply being a determined, intransigent creative type.

Only Gandolfini comes off as a character as opposed to an effigy, his sad-sack posture and f-it-all unprofessionalism truly capturing the tragedy of a working man with a one-way ticket to 99-percenter hell.

The fact that director Darragh Byrne has laden things with a Celtic Whimsy 101 score and a sketched outline of a script makes it even tougher for Meaney to lift this film out of its social-drama rut.

The badly miscalculated meat of the film is an endless parade of to-camera addresses by performers such as Lindsay Lohan, Viola Davis and Uma Thurman, all reading clumsily from Monroe's recently discovered letters and journal entries as if it were final-exam time at the Actors Studio.

There's not much to dislike in My Brothers' sweet inconsequence, but even less to quicken the pulse or stir the heart.

There are a few nicely turned moments... but they're scattered plums in a starchy, flavorless pudding.

Lay the Favorite is frenzied without being funny. Like Judy Holliday on a particularly manic day, Hall tears from scene to scene with a bubbly effervescence that is technically impressive yet increasingly exhausting.

In the wake of the spunkier "Your Sister's Sister," writer-director Brian Savelson can't seem to mount a head of steam, and his chamber piece feels underdeveloped. Even Slattery's sourness doesn't redeem the banality of impending heart-to-hearts.

Director Jacob Rosenberg's approach is heavy with archival footage and interviews, yet oddly features almost nothing from Way himself; his puzzling absence for most of the film turns the project into less of a biography than a one-note hagiography.

Director Maya Kenig's film never decides whether it wants to be a social satire, a familial drama or a parable about Israeli life during perpetual wartime; that it neither picks a route nor cohesively combines any of those strands doesn't make a fairly generic father-daughter story any more colorful.

While the documentary offers some insights into the pervertion of art for ideological purposes, too much of it simply finds Fry standing in dumbfounded awe of the holy sites that populate his journey.

More of a massive back-patting for bleeding hearts than a comprehensive-or even semi-comprehensive-survey of DIY protest art, the film unintentionally makes the perfect valentine for the OWS version of radicalism: It's righteous, full of rage and cripplingly unfocused.

Whether it's Caplan and Webber trading goofy dance moves or Brie being perkily OCD-ridden, Date works best as a collection of winsome, unconnected vignettes; its ideal distribution model would be piece by piece on YouTube.

What's surprising is that Rogen and Streisand have a genuinely complementary chemistry, feeding off each other in a way that suggests that, given a halfway decent script, the two would make a better-than-decent screen duo.

When it comes to human emotions, however, the filmmaker is all thumbs, crassly fumbling for audience response via clichéd uses of dropped-out sound and the occasional twinkling piano.

Best is Viggo Mortensen's William S. Burroughs proxy Old Bull Lee, holed up in a perspiration-saturated Louisiana mansion with a shell-shocked Amy Adams and a gas-huffing chamber at the ready.

Berlinger and Sinofksy merely suggested Hobbs might be responsible for the crime; Berg goes in for the kill, inconclusive evidence and docu-ethics be damned. The queasy certainty with which the filmmaker jumps to her conclusions, however, is all too reminiscent of the original prosecutors' zeal. It's hard to imagine how someone could study this case for so long and yet miss its most critical lesson.

Whether blithely comparing American prisons to retirement homes or gleefully recalling the time he chewed off his own fingers in Siberia, the moonlighting German New Wave auteur injects some much-needed black humor into what is otherwise a soporific star vehicle.

Yet worst of all is the way the film ultimately reveals its humanistic setup as a lazy pretext to redeem Damon's big-business apologist through the healing power of nature. He's not the only one who should be put out to pasture.

Though based partly on actual events, Ruben Fleischer's ludicrous shoot-'em-up plays fast and loose with the facts, and plenty else besides.

The curtain can't come down fast enough.

My Best Enemy bleeds suspense like a pin-pricked tire. It wants to be clever, but survivor tales bring with them too much muck.

It's unclear what drew the likes of Billy Bob Thornton, Eva Longoria and Andre Braugher to this tepid grindhouse retread, but at least they liven up the proceedings whenever they're onscreen.

With its rock-skimming male bonding alternating between grisly homicides and a florid Mexican standoff that begets a tidy take-the-money-and-run finale, this tale seems less timely than merely tall.

The promise Dumont once showed has ossified into unholy shtick.

The overall fist-pumping rhetoric (lots of earnest reciting of Abu-Jamal's prose) and a failure to address the possibility that he might have, in fact, shot that cop in 1981 make this profile more hagiography than history.

Writer-director Austin Chick throws in echoes of Abel Ferrara's feminist grindhouse classic "Ms. 45," but the provocation feels hollow and the stylish direction - filled with pensive slo-mo - just slows things down.

Warm Bodies wants us to believe in the transformative power of love, but what of Julie's poor, devoured boyfriend? There's Stockholm syndrome, and then there's cozying up to the monster who ate your sweetheart.

No matter how may times Identity Thief switches tracks, nothing works — it fails as a star vehicle, a recession-era satire, a WTF white-collar-grunt revenge tale, a "Midnight Run"–style buddy flick, a gross-out laughfest and a bathetic tale of broken souls. No amount of stolen guises can fix it.

Fellini used to get away with such slender crises, but he had Marcello Mastrioanni behind the shades, as well as a more vivid penchant for psychosexual fantasy. Coppola and Swan are stuck in their obsessions with dorky album art and old-man cocktails at Musso & Frank. A precious, arid thing, Glimpse arrives pinned to Styrofoam like a prize arthropod.

Though the Tavianis’ intent is clear—to comment on the thin line separating part and performer, as well as on the quite literally liberating powers of art—the meanings rarely emerge with any elegance or resonance. Hardly a dish fit for the gods.

Christopher Felver, while an inspired photographer, is not the director for the job; he dutifully ticks off Ferlinghetti’s major achievements — such as the founding of North Beach’s literary mecca, City Lights — yet never imbues his life with anything more than lefty zeal.

As with many young-adult book-to-film series, Beautiful Creatures plays like an illustrated compendium of scenes from the novel, as opposed to a finely tuned narrative all its own.

The whole film seems dead set against offering up any kind of salaciousness. Like the overly arty "Zoo" and other indie experiments, it misses the point in a disturbing way.

The director has made disappointing films before — a more generous word might be transitional — but never one so slight.

Though the director includes a few brief humdingers — a fight that involves a Rube Goldberg–ish tangle of wires; some munitions-fueled mayhem in a farmhouse — it’s not enough to keep viewers from wishing they were thumbing through a John le Carré novel instead.

Any residual charm evaporates when the third-act dramatics start piling up and a must-be-seen-to-be-believed final twist redefines the word shameless, even by Sparksville standards.

The late Douglas Adams summed up Earth as “mostly harmless,” a description that also applies to this eminently tolerable animated time-filler.

Fans of the gritty, era-defining precinct drama will bristle at how the program's realism has been replaced by a generic Tinseltown U.K. slickness. But regardless of whether you’re a longtime devotee or not, you’ll be left saying, “This is The Sweeney? I’ve been rooked.”

As an info dump, Table is admirably efficient, addressing everything from obesity to the limits of charity. As a film, it’s less compelling, with only one subject — Philadelphia single mom Barbie Izquierdo — getting enough screen time to put a human face on the crisis.

The filmmaker throws in a strangely irrelevant twist before he’s through, but despite a lavish dose of gothic style, The Condemned’s trek toward absolution is pretty familiar.

Neither as subversively fun as last year’s megadestructive "Project X," nor as creative as "The Hangover" (on which these codirectors broke through as screenwriters), this further installment in the millennials-acting-badly genre serves as a distinctly average placeholder.

Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.

By the end of the ride, the movie’s messy humanity has officially calcified into After-School Special clichés; given the choice between handcrafted whimsy and heavy-handedness, we’ll take the former, thanks.

Only Hélène Cattet and Bruno Forzani, directors of 2009’s stylish Amer, emerge intact with “O Is for Orgasm,” a surging montage of fluid colors and moans.

Unfortunately for this rock documentary, this fan-to-frontman saga is not that interesting a turn.

In all aspects, The Girl can’t help it — this is headline-torn cinema du tearjerking at its most generic.

A long, dull swim through narrative syrup interrupted occasionally by poorly choreographed acts of violence. It’s essential only for those wanting to hear Farrell try on a Hungarian accent.

And though Capper captures a few truly intimate moments, like the star humbly participating in a Rasta ritual, the whole thing ends up feeling like a superficial cross between a starstruck version of Vice’s gonzo travelogues and a highly (ahem) stage-managed portrait of an artist in transition.

This vision of contemporary Italy as a warped fairyland filled with corpulent slobs and seedy C-grade celebrities recalls the tough-love spectacle of Fellini’s "La Dolce Vita," but Reality frustratingly devolves into a far more tedious mass-media morality tale.

The movie builds to a particularly deflating anticlimax, passing over an inevitably apocalyptic confrontation between spheres with a wink-wink, nudge-nudge bit of dialogue that’s like a rejected punchline from a Douglas Adams novel.

It’s a complex geometry that’s mined for some interesting perspectives on romantic fulfillment, but the film’s comic sense (exemplified by a drunken Harden acting inappropriately) is slack and its dramatic conclusion unfulfilling.

Say what you will about this collection of less-than-feature-length films: There’s truth in its advertising. The sketchlike movies here are indeed shorts, and stars do lend their presence.

Admission’s comedy has walls built around it; director Paul Weitz (About a Boy), normally a softener of harsh edges, might have been stymied by Fey’s snappy persona.

When it’s indulging in glammed-up musical sequences, Hunky Dory comes to life; everything else couldn’t seem less inspiring.

It’s a lightweight drama filled with heavyweight war-is-hell monologues, delivered by a cast that lacks the gravity to sell them.

This remake of ’70s Spanish horror film "Who Can Kill a Child?" is less a contemporary upgrade than an eagerly creaky exploitative throwback.

The artist formerly known as Aragorn remains an engrossing screen presence, but this campy thriller is a tad too close to simply having him sing the telephone directory.

The Sapphires might pass muster as escapist fluff, but its pretensions of significance go woefully awry.

Weird for weirdness’s sake gets you only so far, however, and when Dupieux tries to connect all these strange goings-on to Dolph’s corporate-drone despondency, the movie takes a spurious turn toward rancid sentimentality. It seems that even a piece of dog excrement has feelings. Yuck.

Favoring style over substance isn’t a mortal sin, but Creevy isn’t as enthrallingly slick as compatriot Guy Ritchie, nor does he have anything like the "Lock, Stock and Two Smoking Barrels" auteur’s feel for Britain’s criminal class.

Dog Pound only rarely finds the live-wire energy needed to make up for its amateur cast and staunch adherence to well-worn archetypes: cell-block bullies, sadistic guards, fresh-fish innocents, etc. Neither the film’s bark nor its bite leaves much of a mark.

Once a scarred shark hunter (Liev Schreiber) enters the fray, the film’s tone shifts from madcap to maudlin, and the narrative from being merely grating to actually galling. Artistic inspiration can be close to madness, but Mental is just plain nuts.

The time-killing universe Byington has created makes sure we never forget how absurd he thinks the whole movie is. Fun for him, perhaps.

Aside from a few witty Looney Tunes–esque sight gags, such as one hilarious image of a woolly mammoth being swallowed up by the tectonically shifting earth, the stereoscopic visuals are a busy, personality-free digital blur.

At least Mark Ping Bing Lee’s luscious cinematography distracts from the shallow storytelling. There are worse things than luxuriating in a two-hour Côte d’Azur travel ad.

Plays like a tiresomely extended evening of channel surfing.

The film plays like something Boyle could kick out in his sleep, all his supercool devices listlessly deployed in service of a mediocre wet dream.

Even at its most affecting, Simon Killer rarely seems like more than a cinema-du-Gaspar-Noé simulacrum. The languorous long-takes, dissociative sound design and strobe-light scene transitions meant to mirror this emotional con artist’s skewed view of the world are anxiety-of-influence hand-me-downs through and through—viscera without vision.

Perhaps the director is trying to show her socialites’ path to finding themselves, but her point ends up as lost as the film’s aimless hedonists; like its characters, Lotus Eaters is a visual treat—and emotionally vapid.

Ultimately, the silly material overwhelms the style, particularly in a final act involving magical hillbillies living in them thar hills — during which the movie attempts to make a serious point about the importance of faith in the midst of a lot of bad teeth, worse wigs and cheap jolts. Right.

This story is both uplifting and awe-inspiring. It deserves to be told better.

Brando-wheezing Gandolfini never slums it, but there’s still no shaking the sense that a pro has shown up for amateur hour.

As its title suggests, this is more of a self-conscious attempt to court quirky cult-film status. Nice try.

The whole movie feels like a case of the sweats, putting you in desperate need of the chicken soup of recognizable human behavior.

Only Andrea Riseborough comes close to rising above it all, and even she’s undone by what may be the crassest climactic slo-mo montage ever. The lucky will have logged off by that point.

Kosinski continues to lavish far more thought on how his elaborate fantasy worlds look than how they work, and neither the politics nor the human stakes here coalesce into rational or relatable drama.

Characters seem less entrapped by their desires than by plot necessities — a fact that’s not redeemed by Ozon’s winking self-awareness.

By the time this modest microindie noir starts laying its cards on the table, your attention will have already folded.

A miniseries, which the BBC once planned, might have worked. In this form, Midnight’s Children has the paradoxical misfortune of being both too rushed and too wearingly long.

There’s a ruthlessly effective movie to be made from this material, and you couldn’t hope for a better performer than Shannon, who can turn on a dime between quiet malevolence and volcanic rage, to inhabit the sociopathic central figure. Unfortunately, this overproduced biopic constantly counteracts the actor’s committed efforts with its pale-imitation slickness.

The sole saving grace of this treacly middlebrow dross is the naturally sweet chemistry between Brosnan and Dyrholm. In the few scenes in which they’re alone together, wistfully recalling the past and discussing various misfortunes, you glimpse a much deeper movie.

What interest Scatter My Ashes at Bergdorf’s does generate comes from the sections devoted to a pair of staff fixtures: Linda Fargo and David Hoey.

Other than an impromptu spectacle in a downtown record store, little of the chops and charisma Buckley fils had in spades is channeled; this is still the usual Let Us Now Praise Famous Men karaoke session, wrapped up in some extra-discordantly warbled notes.

Before long, the film spills over into a far less intriguing, and somewhat questionable, portrait of one hysterical woman.

Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged.

Defined by "Three’s Company"–grade humor, this attempt at male-anxiety cringe-comedy is little more than a sitcom writ large that — courtesy of several awkward transitional fades to black — already feels constructed to accommodate commercial breaks.

People become mere punch lines: fleshy avatars for the gory grist.

Eckhart’s status as the most likable too-handsome man this side of Chris Isaak will endure long after this film is erased from memory — which starts immediately.

At least this tepid satire can coast on the charms of its cast.

At least the Abrams-helmed Star Trek from 2009 had a pretzel-logic playfulness; the portentously subtitled Into Darkness is attempting like hell to be a Trek for our troubled times. The franchise has been thoroughly Christopher Nolan–ized.

A soundtrack of churning rock songs by the Kills is as close as this misfire gets to authentic grrrl power, borrowed as it is.

The film’s cutesy vibe is closer to "Glee" than "Election" or "Waiting for Guffman," with Nathan Lane’s exuberant drama teacher pitching several yards of camp tent.

Eager to please and easy on the eyes, The Kings of Summer sails right down the middle, safely tacking between sitcom setups and grandiose MGMT-scored montages without forming its own distinctive feel.

There’s slow-burning, and then there’s simply slow; the difference between the two has never been so apparent.

The movie sags after Mary’s weak-willed acquiescence to crime, instantly turning her into a dull-eyed monster. You know her procedures are bound to stray from elective, but it’s hard to care.

What undoes the film is its rather rancid parent-child sentimentality (a Shyamalan staple, admittedly) and a charisma-free performance from the younger Smith that suggests the apple has fallen very far from the tree.

When Mark Ruffalo shows up as a crumpled detective, you expect a dose of reality, yet on his heels come twin hams Michael Caine and Morgan Freeman, whose solemn presences (as Christopher Nolan knows well) prove wonderful distractions from silliness.

The filmmakers are too much in love with their made-up holiday to observe it to the fullest.

You’re probably better off heading to an actual watering hole than patronizing Douglas Tirola’s humdrum doc on the art of the cocktail.

Deserves some kind of Bizarro World Robert Altman Independent Spirit Award for the Best Ensemble in the Least Interesting Movie.

Director Max Mayer doesn’t find a way to make the ritual traumas of adolescence feel new again.

The better actors — Kevin Costner, chiefly, as the adoptive Earth father — strain to supply warmth, but mostly, the minutes stretch into great expanses of blahness, much of them filled with Transformers-grade skyscraper snapping and bloodless catastrophe.

It’s a hit-and-mostly-miss affair: For every gut-buster like McBride and Franco’s lengthy exchange about drenching each other in seminal fluid, there’s a fall-flat gag.

There’s no sense of what Wajeman is after here. A character piece should have some sense of a character’s who, what and why, right?

Why Stone also chooses to characterize those on his side as feeble-brained hippie protestors is a mystery, but in its attempts to debunk the feasibility of massive energy reduction, Pandora’s Promise at least brings some measure of rhetorical skill to its arguments.

It’s too easy to say that Peter Billingsley shot his eye out with this inept comic trifle, but…well, he shot his eye out.

Timing’s everything in comedy, so perhaps Post Grad would have seemed peppier prior to the Great Recession; circa now, this comedy feels like a cynical stroll through the unemployment lines awaiting today’s class of seniors.

Lamely tries to update "Breakfast at Tiffany’s" for the Twitter set. Too bad Truman Capote’s not around for rewrites.

By the end of Pray’s skin-deep love letter, only one sweeping reaction seems appropriate: “A pox on all your houses.”

Kari Skogland’s flashy yet dead-on-arrival drama turns Belfast’s backstreet battlefields into music-video backgrounds.

This is hackwork of the highest order, lacking in all poetry and barely comprehensible aurally or visually.

It’s just blinkered middle-class pandering at its most shameless.

A talented director might have made Bullock seem like a comic genius, but Phil Traill has no control over tone, leaving the audience unsure whether to laugh or cry.

Despite a plucky soundtrack and frantic editing, the movie shows otherwise wan interest in the gaggle of faux-transgressive bad girls who bare their dulled claws at England’s establishment ethos, as though that notion alone were somehow fresh and cheeky.

The laughs, meanwhile, are delivered by cross-dressing Perry’s sassy grandma Madea, whose wild threats of violence to children and adults alike are the only things that sporadically lighten up this narratively and grammatically dim redemption pap.

This film’s greatest accomplishment is that its theatrical gestures manage to feel preposterous, pretentious and routine at the same time.

(Untitled)’s onslaught of self-indulgent bohos and art-vs.-commerce clichés are as ersatz as their objects of scorn.

That curatorial heft is sorely missing from Kalmbach’s final edit; it’s a portrait that neither feels forced nor fully formed.

Neither blue teeth nor virgins make appearances, but Russell Brown’s torpid indie does deliver plenty of ponderous chitchat about truth, deception, criticism and artists’ motivations.

Painfully unfunny.

His closing dedication—“For my daughter”—turns this into something actively creepy, as opposed to merely brainless, boring and inept.

The public appetite for high-school high jinks may be limitless, but the pretentious camerawork and empty ideas of this feature-length mope yield little pleasure or insight.

Peter and Vandy is crippled by DiPietro’s interest in repetition. Activities that were cute and fun at the beginning, we see, ultimately become tedious. The novelty of the film’s gimmick follows suit.

Numbingly simplistic in concept and execution.

The new movie is a joke, a toxic cocktail of banal psychobabble, laughably arty slo-mo flourishes and unmotivated sexual violence that only brain-in-jar types could take as a serious statement.

It’s a judgmental tale whose only payoff is carpe diem drivel.

Only Billy Connolly, as the boys’ way-of-the-gun pa, brings a smidgen of sobering gravitas to the proceedings, though he can hardly counter the pounding hangover brought on by all the mock-virtuous butchery.

This shapeless series of unfunny vignettes (interspersed with pointless street interviews) deserves to be slapped hard.

Even when it’s shooting in the swing states, the film never finds drama, focus or any greater purpose other than some dubious horn-blowing about the SEIU being singularly responsible for electing President Obama.

It’s a dud.

Even if Women in Trouble didn’t keep bringing to mind a superior artist, the film would still be badly written (DOA tangents about cunnilingus and kink don’t make dialogue edgy, only vulgar), not to mention unevenly paced and an embarrassment to all involved.

Speed can be a virtue, but there’s something extremely off-putting about the way The Wolfman, Universal’s latest horror classic redux, races through its opening scenes.

The little action here will disappoint fans; it’s way too choppy.

Never mind the unreliable Angeleno characters; it’s the director-actor who’s the flakiest, as he’s unable to decide if Fix is a real-time saga of a rebel, a loser or a victim. How many face-lifts can you give a single film?

It’s a hysterical doc that’s a war on rational, levelheaded analysis.

Even supremely talented actors like Melissa Leo (as a confidently sexy trucker) and Brendan Sexton III (as a train-station beggar) are stifled by all the pseudo-redemptive mush.

An economic slump is no reason to settle for this junked-up, unintentionally depressing "Office Space" bootleg.

Christopher Isherwood’s seminal queer novel deserves a film adaptation that captures both its sense of place and its activist spirit. Cowriter-director Tom Ford settles for the glossy ephemera of a Vanity Fair cover spread.

Blending CGI and live action, this “squeakquel” to the witless 2007 kids’ film proves just how dangerous such technology is when placed in the wrong hands.

Why, pray tell, do we not get a four-year break between generic, charmless and sexist rom-coms like this on our side of the pond?

Hollow as a cavity.

Keep your coin far away from this toxic fountain of crap.

Desperation oozes from every frame of Cop Out, which front-loads its best joke -- then spends the rest of its running time endlessly spinning its wheels.

This film will make you cry tears. They won’t be happy ones.

You know it’s bad when a caper comedy makes you long for the Goldie Hawn–Chevy Chase showcases of yore.

It’s impossible to believe these three clashing personalities would put up with one another for whatever loose change they could split as Washington Square Park buskers. You’re better off giving your money to a real street performer.

Aside from an uncomfortable-looking Carlos Mencia, who seems to actively cower before the camera, the cast is robotically efficient--though that’s not the same thing as coming out of this lifeless mess unscathed.

Bless you, R.Patz & Co., because this gloriously steaming pile is officially in the bad-movies-we-love pantheon.

Mark Young’s bargain-basement thriller is as witless as the captor’s motive; to paraphrase another well-dressed Madsen psycho, this little doggie barks, but it has no bite.

Writer-director Minos Papas channels both David Lynch and Dante’s "Inferno," but Shutterbug lacks the poetry--or precision--of a true phantasmic freak-out.

This sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama.

Watching people play a board game ain’t ever going to be scary, and that’s essentially what we have here.

After decades of endless policy debates, you’d think fixing America’s schools would be a complex endeavor. But apparently not--at least according to this tunnel-vision editorial.

Although based on the real-life tale of nine underage underdogs from Monterrey, Mexico who swept the 1957 Little League World Series, this Cinderella sports story rings false from first pitch to last.

The only aspects marking The Back-Up Plan as modern (not fresh) are its skanky wallowings in hormonal urges and an equally sour penchant for potshots at the target audience: women who want to be mothers.

Excruciatingly stupid movie.

The only saving grace of this wannabe Looney Tune? The animals don’t talk.

Sherman based this obtuse psychosexual dystopia on his own hippie upbringing; the result is virtually teeming with bitter resentment for the drug-addled parent collective that inadvertently turned his adolescence into a chapter from "Lord of the Flies."

All three of you clamoring for a sequel to "Wild Wild West" have got your wish: Jonah Hex--an adaptation of the DC Comics series about a Western antihero with otherworldly abilities--gives that Fresh Prince–starring disaster from 1999 a run for its wasted money.

This smug and callous action-comedy is about nothing but teeth.

It's the wooden plotting and cornball sentimentality--and, most unpleasant of all, the full-frontal nudity of Jamie Kennedy--that truly make this AVN-themed fairy tale, ahem, hard to swallow

Through all the fuzzy science, Merola sees a savior; you’ll see a dull editorial masquerading as objective reporting.

A mess of arrhythmic editing, mopey first-person inserts and distractingly choppy narration, all making a heady topic that much more difficult to follow. To focus or not to focus should have been the first question.

Simply casting doubts isn't the same as making a compelling counterargument-or crafting a coherent film.

Even on its own limited terms, the jokes are sub–"Friday" sequel, and a last-act grab for "Boyz n the Hood" pathos is seriously reaching.

The film's horrifying experience looms over each well-constructed frame without anywhere to go.

The only thing that remains a mystery is why anyone thinks they can pass off a poorly made, predictable-to-a-fault movie as inspiring entertainment.

I'll respect the studio's wishes to abbreviate all plot description. God knows, they're marketing it like the second coming of "The Crying Game," though the revelations that await Nev are only shocking if you believe P.T. Barnum was really in possession of a genuine Fiji mermaid.

This is the sort of cut-rate cinematic Cheez Whiz that gives religious horror movies a bad name. Still, at least it's not "The Last Airbender."