King Arthur has complications everywhere but where it counts: in the depiction of its title character. That’s too bad, considering he is played by Clive Owen, who is more than capable of layered motives and emotions. Here he is required to do little more than give soulful stares and inane inspirational speeches.

To truly enjoy The Time Machine – the latest adaptation of H.G. Wells’ classic fantasy novel – would require a time machine itself. That way you could zip from scene to scene and pause only for the movie’s few worthwhile moments – namely some clever production design and a few elaborate special effects. Starring the

This sci-fi adventure – about a high-schooler (Jesse Bradford) who discovers a secret government watch that allows him to move so fast everyone else seems to be standing still – wants to be Spy Kids for a slightly older set, but the witless result tries to coast on dated but carefully test-marketed elements such as

A disposable, slapdash action comedy in which Jackie Chan plays a Hong Kong detective who comes across a mysterious artifact that grants him superhuman powers. The series of bloopers over the end credits feel redundant – the movie is a screwup of its own.

Itself a source of classics, Disney brings a respectful touch to this animated, interstellar version of Robert Louis Stevenson’s revered “Treasure Island.” The story still focuses on the moral education of young Jim Hawkins, while the wonderfully inventive visual palette retains plenty of nautical details. It’s an anachronistic approach that leaves room for both pirates

You would never guess this is a sequel to the modestly budgeted 2000 science-fiction fright-fest Pitch Black, starring Vin Diesel as an ex-con and reluctant hero who can see in the dark. Chronicles bloats before your eyes – in terms of sets, special effects, narrative – as if it wanted to be another entry in

The creative team behind Romeo Must Die and Exit Wounds – namely director Andrzej Bartkowiak and star DMX – return for this crime thriller, and despite the fact that Exit Wounds co-star Steven Seagal is nowhere to be found, the air of silliness he projects still lingers. The unintentionally comedic lowlight? When Hong Kong action

The Great Raid yearns to be epic, but the movie can’t measure up to its remarkable true story: the rescue of more than 500 American detainees from a Japanese prison camp in the Philippines during the final days of World War II. The cast is lightweight – Benjamin Bratt, Joseph Fiennes and James Franco play

MGM Pictures repeatedly delayed the release date of this remake, apparently waiting for the movie to become watchable. The studio should have kept waiting. Astonishingly inept, the film is a rushing blur of incoherent action sequences, stilted narrative patches and a chase scene filmed, for no clear reason, in the green tint of night-vision goggles.

Matthew McConaughey’s modern-day explorer Dirk Pitt – the priceless name and character come from Clive Cussler’s series of novels – is a riff on Indiana Jones, if Indiana Jones had spent three years in the weight room. McConaughey may be weighty, but Sahara – in which the star, Steve Zahn and Penelope Cruz chase a