Anita Gates

The film is exaggerated, ludicrous and simplistic. It shows a towering disdain for both men and women. But Angie and Marco have a certain good-natured charm, and there are some nice shots of Shanghai.

The concert itself was a bold, life-affirming project, but with a couple of additional extended music sequences, Mr. Xido’s film might have been more powerful and way more hardcore.

This quiet romantic drama never soars but keeps its sense of humor and its balance while taking its subject matter for granted in the best possible way.

The film’s writer and director, Ivan Kavanagh, and his team pull off a few enjoyable, decently creepy scares, but over all, the action is too cryptic, and the pedestrian dialogue doesn’t help.

The film means well but feels generic, strained and claustrophobic (despite several scenes at a deserted beach), with tight close-ups and sudden confrontations.

Having a mild-mannered writer tell this story by sitting in a chair in front of some pretty art in a house museum and just talking seems lackadaisical, but Mr. Moss’s message is clear, shrewdly edited and peculiarly interesting.

Thomas Carter, the director, whips us into a frenzy during the big winning-again-is-everything game, as all sports underdog movies must. But in the end, the only real impact is limited to a few scenes.

The cast does a fine collective job, and Mr. Brill’s script flirts with clever charm here and there. But the whole film is a missed opportunity because the situations repeatedly defy credibility, and the humor never says anything remotely fresh about human nature or the world we live in.

The message is repeated ad infinitum; this documentary is painfully long for a project of this kind.

At first, there is something a little too straightforward about the characters and their dialogue. But gradually, a group of strong, sure performances and the script’s twists... take hold, and we are fully involved.

Boss is billed as an action comedy, but it isn’t always clear what is part of the joke and what isn’t.

Like so much of current polarized communication, “Assaulted,” wherever it is shown, is likely to be preaching to the choir.

This is certainly competent filmmaking, sort of like a long “60 Minutes” segment without the confrontational interview style.

This film from Rebecca Richman Cohen is a mostly dutiful documentary that drifts dangerously close to earnestness.

The film is an unabashed promotion for space exploration.

Giorgio Perlasca, who has been compared to Oskar Schindler, deserves better than this Italian television film.

A one-dimensional romantic comedy that feels like an old-fashioned vehicle picture, the kind the big movie studios used to make in the 1930's and 40's just to bring in the fans of a particular actor or actress.

Inconsequential sequel for the undemanding moviegoer.

With smarter dialogue, it might have made a fascinating film.

For most moviegoers over 12, this, the fourth Three Ninjas movie, will be interminably boring. But it's possible that young children will enjoy the film, since it falls into both the action category and the children-are-smart-adults-can't-do-anything-right genre.

Dan Harnden's screenplay keeps things relatively interesting, despite the very thin plot.

Venom certainly can't be called a good movie, but within its genre it's perfectly palatable.

There is something good-natured about Jaan-E-Mann that makes it possible to forgive its many faults -- even the film's opening, a "2001: A Space Odyssey" ripoff with a space station gliding through the cosmos to the tune of the "Blue Danube" Waltz.

Mildly scary here and there. It does not play by all the horror movie rules (e.g., the black guy always dies first). And the cast is good-looking.

Watching the rest of Damon Dash's playful movie is like entering a room where a large, too noisy party is going on and never fully adjusting to the dark or the din.

Mr. Wranovics sometimes goes too far in setting up cute situations for filming witnesses' comments.

Admirable but unfocused.

Sheriff may have a point to make about the impact of family, roots and religion on the changing face of rural America, but the film, while admirably restrained and competently made, is too polite to clarify that.