
‘Eagle Eye’ movie review: an exciting, if dumb, Shia Labeouf thriller
Eagle Eye tests the limits of just how dumb a film can be and still get away with it

Eagle Eye tests the limits of just how dumb a film can be and still get away with it

Meet Dave is a nice change of pace from the star’s recent flicks of the Norbit/Nutty Professor variety

Báthory is a wandering, plotless film that seems content to run down a laundry list of events in the life of the titular countess

A competent serial killer thriller for two-thirds of the way, Gregory Hoblit’s Untraceable loses itself by the end

21 turns the true story of the Vegas-breaking MIT card counting team into a rambling bore

Fool’s Gold won’t be fooling anyone who has seen a decent adventure pic

Sleuth pales so vividly in comparison to the original material that it cannot be deemed anything other than a failure

Gabriele Muccino re-teams with Pursuit of Happyness star Will Smith for an ambitious, well-meaning and initially compelling film

Doug Liman’s Jumper takes a potentially intriguing premise and goes absolutely nowhere with it;

P.S. I Love You comes manufactured to forcibly extract tears directly from the ocular cavities of its viewers

Hitman should’ve and would’ve premiered on a lesser medium if it weren’t based on the popular video game series of the same name

Resident Evil: Extinction, the third entry in the increasingly tiresome series, no longer resembles its video game roots

Feast of Love feels insincere throughout despite a likable cast and efficient direction

In No Reservations, Catherine Zeta-Jones stars in a bland remake of Mostly Martha

Rush Hour 3 is capably handled and no worse than the previous entry but still fails to elicit any excitement

Pathfinder is a murky, muddled, self-indulgent action flick from director Marcus Nispel

You may be more forgiving if Joel Schumacher’s The Number 23 is only the 23rd variation of this twisty psychological thriller you’ve seen

The Hills Have Eyes II is an uninspired, unnecessary sequel to 2006´s uninspired, unnecessary remake

Director Andrea Arnold keeps the audience in the dark for much of the interminable Red Road

This modestly-entertaining Hannibal prequel, minus Anthony Hopkins, isn’t as bad as it’s reputation suggests