“I doubt bets will be taken on there being a 3.” Alison Jones, Birmingham Post

“Taken 2, taken to where? Taken to the cleaners? In the original movie, Bryan Mills had 96 hours to save his daughter, in the sequel it seems like they have spent 96 minutes on the script.” Brian Henry, UTV

“This film, lazy and mismanaged as it is, just feels like the only thing that’s going to get taken unjustly is your money.” James Rocchi, MSN Movies

“Pretty much the direct opposite of everything that was right about the first film.” Teddy Durgin, Screen It!

“Unnecessary, perfunctory, ramshackle: Taken 2 is all these things and less.” Chris Blohm, Little White Lies

“The deep-rooted silliness makes it hard to take anything in the film seriously. But at least it has the decency never to ask us to.” Keith Staskiewicz, Entertainment Weekly

“In Stolen, [Cage] steals away with nothing; he’s simply stalled out.” Stephanie Zacharek, NPR

“Unconscionably boring. The real act of theft here is of the ninety minutes the picture steals from your life.” Frank Swietek, One Guy’s Opinion

“Stolen begins at overdetermined, makes a pit stop at outright sadistic and winds up in the parking garage of ridiculous even for a movie of this sort.” Glenn Kenny, MSN Movies

“For all the heists, chases and shoot-outs, it’s a sluggish picture. Characters feel the need to stop the action to explain themselves. Thoroughly.” Roger Moore, McClatchy-Tribune News Service

“Cage is uncharacteristically muted. He seems to have given up on making art long ago; these days, all he wants to do is entertain, and with Stolen, he succeeds, albeit only on the guilty-pleasure level.” Nathan Rabin, AV Club

“‘At last,’ Alice narrates, ‘we thought we had survived the horror.’ But no.” Roger Moore, McClatchy-Tribune News Service

“It doesn’t help to have Jovovich, Guillory, and Rodriguez in charge of the acting here. The three anti-Streeps slog through Anderson’s god-awful dialogue with a peculiar drowsiness.” Brian Orndorf, Blu-ray.com

“Most franchises which make it to 5 movies start to run out of ideas by then, but if Retribution has one glaring problem it’s that it has far too many of them.” Joshua Tyler, Giant Freakin Robot

“I half-believed this movie was, indeed, a video game that Paul W.S. Anderson was playing in his underwear while smoking a bong.” Kevin Carr, 7M Pictures

“The script is incoherent and the acting is terrible—avatars would have been an improvement.” Rafer Guzman, Newsday

“It’s all the same blah-blah carnage as the first four flicks, with 3D effects hurling blood, blades and body parts into the audience amid a non-stop barrage of gunfire and explosions.” Linda Barnard, Toronto Star

“An attractive proposition let down by a cack hand.” Hugh Langley, Little White Lies

“You can see the veins standing out on the heads of Rebecca Hall and Catherine Zeta-Jones as they strive to make sense of a script that has no time for logic or consistency.” Donald Clarke, Irish Times

“I can scarcely remember a film where someone as massively-talented as the young British actress Rebecca Hall has clearly worked so hard to inject some life into proceedings and to such little avail.” Graham Young, Birmingham Mail

“The dialogue is shrill, the emotional moments are foghorned with deafening musical cues, and every scene is lit like an advert for orange juice.” Robbie Collin, Daily Telegraph

“Like a loud guest at a party who’s amusing for a while, until you just have to escape to the next room.” Todd McCarthy, Hollywood Reporter

“This is one of those comedies where, actually, nothing very funny happens.” Stella Papamichael, Digital Spy

“Those of us who still venerate Frears as a pioneer of British indie cinema in the ‘80s pine for him to have higher goals than a ditzy true-crime romp, but maybe that’s our problem rather than his.” Andrew O’Hehir, Salon.com

“Sadly, somewhere between a split and a fist pump, Revolution fell flat, and I found myself wishing for Magic Mike in 3-D.” Hillary Rea, Philadelphia Inquirer

“She’s a rich daddy’s girl! He’s from the wrong side of the tracks! They bridge their socio-economic gap through the power of dance! Rinse, repeat.” Barbara VanDenburgh, Arizona Republic

“Step Up: Revolution is the fourth of the Step Up movies, a series of unconnected stories that serve as showcases for the kinds of young stars who sincerely hope they’ll soon be in better movies.” Roger Ebert, Chicago Sun-Times

“With the most wooden leads of the series to date—an MMA fighter and a So You Think You Can Dance alum—the drama between the dancing has never felt more interminable.” William Goss, Film.com

“More is not necessarily better, even when it comes to hot bodies and smooth dance moves.” Justin Lowe, Hollywood Reporter

“Step Up: You’ve Seen All This Before would be more accurate, but Summit Entertainment’s marketing department knows that wouldn’t help sell tickets.” Sean O’Connell, Washington Post