“Suffers from so much style over substance, lack of internal logic, contrived subplots and wooden performances that it makes Twilight look like Gone with the Wind.” Avi Offer, NYC Movie Guru

“I Am Number Four has more than a whiff of number two about it...” Michael Phillips, Chicago Tribune

“A flashy, lunkheaded sci-fi extravaganza sure to appeal to teenagers who like their interplanetary warfare bloodless, their high-school soaps squeaky-clean and their numbers countable on one hand.“ Justin Chang, Variety

“Witless, insultingly derivative, muddy-looking, and edited in the hammering epileptic style that marks so many films produced, as this one is, by Michael Bay.“ Lisa Schwarzbaum, Entertainment Weekly

“Trivial and trite, its days are numbered.” Susan Granger, SSG Syndicate

“Frey didn’t really need a ghostwriter for this story, he just needed an archivist with a Xerox machine and a mercenary streak.” Tasha Robins, The Onion A.V. Club

“Just Go With It is so dispiritingly awful that responsible cinema staff should make audiences remove their ties and shoelaces on their way into the auditorium.” Peter Bradshaw, Guardian

“It’s abundantly clear that Sandler is caught in his own memory gap. As he wrestles with an uncomfortable middle age, he’s either forgotten or ceased to care about how to make people laugh.” Peter Howell, Toronto Star

“To describe Just Go With It as another failed romantic comedy would imply that at one time it wanted to succeed as romantic comedy.” Gary Thompson, Philadelphia Daily News

“Ever been so starved of entertainment you’ve tried to see how far you can push a pencil into your ear before hitting your eardrum?” Elliott Noble, Sky Movies

“You may root for Sandler and Aniston to just ‘go with it,’ but only so you can be done with it.” Stella Papamichael, Digital Spy

“A run-of-the-mill chiller that spends an inordinate amount of time flirting with unconventional scare tactics before sacrificing all of its ingenuity to become the latest in a long line of The Exorcist clones." Sean O’Connell, Washington Post

“The question this exorcism potboiler really raises isn’t what’s possessing the supposed victims, but what possessed a great actor like Anthony Hopkins to accept a role in such schlock.” Frank Swietek, One Guy’s Opinion

“Dave Whitehead’s sound design fills the production with ominous whooshings that sometimes overwhelm the dialogue, not that the dialogue doesn’t deserve it.” Joe Morgenstern, Wall Street Journal

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

“The Rite commits the supreme sin of making the devil dull.” Owen Gleiberman, Entertainment Weekly

“Kudos to The Rite for thinking outside the usual goat/pentagram/black-candles box for its satanic imagery, but is a mule really the best it could manage?” Keith Phipps, The Onion A.V. Club

“After the intensity of Black Swan, it’s sort of jarring to see Portman in something as vapid and and inconsequential as this. Kutcher? It’s not quite so jarring.” Stephen Silver, The Trend

“Portman will get past this speed bump with well-earned swiftness. The affable Kutcher, however, seems stuck in a cycle of depressingly empty comedies.” Elizabeth Weitzman, New York Daily News

“Sadly, an obsession with raunchy one-liners trips everything up, turning a clever conceit into something closer to a sleazy, cheesy affair.” Betsy Sharkey, Los Angeles Times

“Remember the Seinfeld episode in which Jerry and Elaine try to become friends with benefits, and set up unsustainable ground rules for their new arrangement? Imagine it rewritten by the Romantic Comeditron 2000 as a profanity-laced schmaltzfest, and you’ve got this tone-deaf dud.” Nick Schager, Time Out New York

“Oh Mr. De Niro...it hurts to see you like this.” Bob Grimm, Tucson Weekly

“Even by the franchise’s own declining standards, Fockers is a wince-a-thon of crude gag sausage-making.” Gary Thompson, Philadelphia Daily News

“Schindler’s List was funnier than this.” Anders Wotzke, Cut Print Review

“If Lesbian Vampire Killers and Santa Claus Conquers the Martians taught us anything, it’s that you should never base an entire film’s plot and existence around a title.” Matt Risley, Sky Movies

“Just when you think things can’t stoop any lower, Owen Wilson performs acrobatics in blue lycra.” Jason Goodyer, Little White Lies

“I’m guessing there will be a fourth and a fifth Meet the Parents sequel: Stepfockers, and Tween Fockers or maybe even As Long as She’s Your Second Cousin, You Can Still Focker. Who knows, or cares.” Mike Ward, Richmond.com

Directed by Steve Antin, starring Christina Aguilera, Cher, Alan Cumming

“Try to make Showgirls for 12 year olds and you please no one. What a tease.” Ben Walters, Time Out

“There hasn’t been a movie this fabulously awful since Showgirls.” David Edwards, Daily Mirror (UK)

“So bad it’s moderately entertaining; Burlesque is a lesson in how not to put on a musical.” Christopher Tookey, Daily Mail (UK)

“Mostly tries to copy Moulin Rouge and Chicago, but comes closer to recalling Mariah Carey’s Glitter.“ Jeffrey M. Anderson, Las Vegas Weekly

“[Steve] Antin hasn’t really written Burlesque, he has merely spooned the story out of a can labelled ‘Instant Musical: Just add eyeliner.” Anders Wotzke, Cut Print Review

“Is it too much to ask for one wig to get snatched?“ Eric Henderson, WCCO.com

“Matt Damon talks to the dead in Hereafter, though after awhile, it’s hard to tell who’s who.” Gary Thompson, Philadelphia Daily News

“Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.” David Edelstein, New York Magazine

“Morbid medium hates the dead. Hereafter, Clint must write a new soundtrack or just retire to a Tuscany farmhouse to enjoy old age.” Victoria Alexander, FilmsInReview.com

“The only thing more disconcerting than seeing an action-disaster sequence open a Clint Eastwood drama is watching the 80-year-old auteur channel M. Night Shyamalan.” Joe Neumaier, New York Daily News

“Like a wasted appointment at a bad psychic’s reading room. All the set dressing is there, but it leaves you with an empty, unsatisfied feeling inside.” Kevin Carr, 7M Pictures

“If Stephen King wrote a romantic comedy, this would be it.” Gary Thompson, Philadelphia Daily News

“The title becomes a depressingly self-fulfilling prophecy: this is movie life as we have all come to know it.” Sean Means, Film.com

“It’s not that baby comedies aren’t a legitimate popcorn genre. But by comparison, this sleepwalk through pre-fab family-life makes Look Who’s Talking and Three Men and a Baby look like art.” Jim Slotek, Jam! Movies

“You can’t open a diaper and expect a diamond.” Matt Pais, Metromix.com

“It bravely explores untapped comedy wells such as how kids are expensive, how men hate changing nappies, and how single women fancy single men with babies.” Robbie Collin, News of the World
“Only the baby actors are spontaneous.” James Verniere, Boston Herald

“When did Robert De Niro stop trying? When did he start coasting on his well-de- served reputation, either mocking it in crass comedies or sleepwalking through dramas where fans fill in the missing emotions for him?” Lawrence Toppman, Charlotte Observer

“If only one character in Stone reacted as someone in his position would to the pre- posterous situation at hand, the movie would be 15 minutes long.” Steve Persall, St. Petersburg Times

“A murky bible belt noir steeped in mystical evangelical voodoo more suited to sci-fi in which De Niro seems to turn back into Travis Bickle minus his taxi, while Norton finds Je- sus, loses his dreadlocks and becomes a self-described tuning fork for God.” Prairie Miller, Newsblaze

“Takers is a pretty fitting name for a movie that swipes its only good moves from earlier, better heist thrillers and other classic films.” Jeff Vice, Deseret News

“Remember when Paul Walker had a career, Matt Dillon had indie credibility, Jay Hernandez was just a cute face, and Chris Brown was an R&B singer without a rap sheet?” Paul Schrodt, Slant Magazine

“The logical result of watching Heat over and over and over until your brain burns out, and then wondering what it would look like if the whole thing were remade as a Smirnoff Vodka commercial.” Joshua Tyler, CinemaBlend.com

“It’s a misfire with a few cracking action sequences, best viewed at home with a mute button safely within reach... looking as though it was shot with a webcam held by someone with severe allergies.” Brian Orndorf, BrianOrndorf.com