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The soapy, cliche-ridden script aside, the picture is a technical mess of awkward framing and choppy editing that puts a dispiriting damper on all that uplifting music.

When the music isn't pounding in sanctified syncopation, the look and the dialogue of The Gospel are a lot like what you might see and hear on daytime TV.

Everything about the weaponry on screen and the moviemaking technology employed behind it screams ultra-modern, but at its core is a loopy, loud wham-bam dose of old-fashioned thrills and giggles.

Occasionally it's good to go to the movies and just have a good time as I did with this. The trailer didn't lie, it is fun schlock.

Laughable subplots about Elba's addicted sister (Marianne Jean-Baptiste) and Dillon's crooked partner (Jay Hernandez) only slow the action, which is all this movie has going for it.

The director of Takers, a try-hard heist movie of clomping unoriginality and self-regard, is labouring under the embarrassing delusion that he's Michael Mann.

Astonishing effects, brilliant production design, great locations, relentless pace and some wry lines well delivered give the film excellent entertainment value

Although Spirit of Vengeance never reaches the madcap heights of Neveldine/Taylor's unhinged Crank, it's an inventive, wonderfully weird, and surprisingly focused one-shot comic-book adventure.

The cumulative effect is likely to make viewers weary, but not so weary that they can't manage a chuckle or two during the film's cheesed-out final minutes.

The impressive cast do their best to bring a sense of conviction to the piece, but it had to have been blind faith that brought them into such an unholy mess.

Dismissed by critics but embraced by African-American audiences, Tyler Perry now opens his pictures without press previews, but on the basis of this expert melodrama he might want to reconsider.

Love can transcend class lines; in Tyler Perry's universe, it also defies all rules of the legal system -- and logic.