The folks who made The 'burbs appear to be card-carrying members of the School of Non-Urban Humor. Basic to the philosophy of this school is the misapprehension that anything occurring outside city limits is intrinsically amusing.

At long last, The Twilight Saga sinks utterly into camp with Breaking Dawn: Part 1.

The film manages one grand "300″ moment, Cavill rallying troops for battle, doing his best Gerard Butler. But the lack of humor, the confusing, stumbling story and limited color palette blunt the film's 3D slo-mo shots of heads exploding and torsos torn asunder by the sword.

Then there's Pacino, out-of-place and yet somehow right at home. You want big? Al does BIG. And since is as close as we're likely to get to "Don Corleone Does Don Quixote," that alone is worth the price of admission.

The charm has aged right out of this silly stoner franchise.

It's all very messy and entirely too obvious at the same time. Montiel makes the most of his settings, but the story keeps staggering into dead ends.

The Double is barely half the movie it had the potential of becoming.

"English Reborn" isn't terrible and is certainly seriously harmless.

This is a once-in-a-lifetime fiasco, an epic fail like none we have seen this year, a bad idea by a very bad director and a career-crippling credit for all concerned. You don't want to miss it.

Give it points on setting and a couple of the performances, but the joke-starved All's Faire in Love only rarely rises to the level of fair to middling.

The action is wan, the laughs hard to come by.

It's an infuriatingly static picture - actors walking around when they should be running, ruminating when they should be panicking, generally failing to convey fear and pick up the pace.

So much is just so…obvious.

Anna Faris and Chris Evans don't have enough scenes together, don't have enough funny lines and aren't surrounded by enough funny people to give this "Bridesmaids-lite" a shot.

The message delivered isn't subtle, with Kendrick delivering toss-away lines that suggest he doesn't even tolerate "the option" of divorce. But the bigger message might be that the Kendricks haven't sold out, "gone Hollywood" or watered down their Baptist beliefs based on efforts to reach an audience beyond the faithful.

"Evil" fails to triumph. Utterly.

An exploitation picture built on redneck cliches and big city liberal outrage, it's not all bad. But it is a pretty unpleasant wallow in the obvious.

It's an ugly movie to look at and a faintly nauseating one to sit through, truth be told.

Absurdly plotted, ineptly scripted and haplessly acted, Creature is a new variation on the "Creature from the Black Lagoon" theme.

Whatever merits the production values have, the cheap frights don't deliver, the performers bring no pathos and the gimmick behind Apollo 18 flat out does not work.

Lawyer-turned-screenwriter Dylan Schaffer's script is an unhappy combination of genres, tones, too many dead stretches of people in cars and inept dialogue. Rapaport's tiresome patter doesn't allow for the weak laughs to land.

The worst movie of the summer, arriving on the last weekend of the summer.

The sex sequences are revealingly awkward - with their "Don't try this at home" message. But without characters we can invest in, this "Hangover Meets Zack & Miri Make a Porno" is just the "porno," and entirely too tame for that, too.

As straight exploitation, it's amusing, in fits and starts. It's just that Colombiana lacks the kinetic energy of "The Transporter" and the pathos of "La Femme Nikita."

Nobody has much that's funny to say or cool to do. Even the spy gadgets are lame.

This isn't the worst of the bunch, not by far. But my premonition is this won't be the finale this series has screamed out for these past few years. This decapitation train never seems to reach its destination.

Despite the locations and the informative narrative, almost every scene is missing that spark that would bring the characters to life and immediacy to the story.

A slick one hour and 50 minute version of those political convention hagiographies ("A Man From Hope"), so it's not exactly an objective take on its subject, former Alaska governor and vice presidential candidate Sarah Palin.