If countless comic books and superhero movies haven’t made it clear enough for you yet: Having super powers can be kind of a drag.
Stolen takes an interesting premise and turns it into an unforgivably predictable and flimsy genre hybrid.
If nothing else, Stolen gives viewers a chance to see James Van Der Beek made up into a sneering, splotch-faced septuagenarian.
The only thing mysterious about Orphan is why Vera Farmiga and Peter Sarsgaard signed on to such an idiotic mess.
Trucker stands as an object lesson in the triumph of intelligent commitment over shopworn material.
Robert Rodriguez’s Shorts may have a more complex narrative than Spy Kids but it’s otherwise just as bland.
The suspense generated from Esther’s early lunatic behavior is of a mild, amusing variety.
The film’s milquetoast banality isn’t, ultimately, Steve Carell’s fault.
The extras available here hardly need two discs to contain them.
Poseidon recognizes and encourages belief in the popular popcorn-movie theory of The Survival of the Whitest.
The film awkwardly shifts gears from gritty independent film realism to gonzo hysteria without ever feeling accurate.
It’s hard to imagine any amount of directorial dexterity or pertinent subtextual commentary salvaging Firewall.
Maxim’s writers should stick to reviewing breasts…and Florent Siri should stop making movies.
Wholesome family entertainment with a good message.
This modernized Amityville Horror deserves little more than condemnation.
A Heaven Can Wait DVD figures prominently in Hostage, but there’s more hellfire than wit or romance in Florent Siri’s thriller.
Who knew Pooh had it in him to ease blue-state-red-state tensions?
The film is a hollow CGI extravaganza that reduces a child’s fantasy trip to the North Pole to a roller coaster ride of excitement.
Daddy Day Care seems to exist solely to sedate a theater-going public’s offspring. And while the film’s sense of sobriety should do the job, don’t expect The Witches.