Bill Stamets

Servillo charms in his dual turn, then takes it up a notch when one brother shows off his childhood knack for impersonating his look-alike.

Slocombe may not carve up his kin for Cold Turkey, but he serves a wry repast.

Director Scott Derrickson and his co-writer, Paul Harris Boardman, deliver a routine procedural with unremarkable frights.

A fair amount of visual panache, but the fight scenes are routine, the humor juvenile, and the Toronto locales rendered drab through muddy cinematography.

Director Kasper Barfoed defaults to intense replays of surveillance audio recordings, frantic strokes on computer keyboards, and standard-issue chases.

Grudge Match does not work on any level. The story is unconvincing. The comedy elements are weak... And, worst of all, the acting in most scenes — particularly those involving Sylvester Stallone and Kim Basinger — is atrocious.

In 20 Dates Myles Berkowitz strings together one embarrassing moment after another and triumphs in a culture characterized by actorly artifice.

The plot is astoundingly senseless.

Maxwell continues his textbook emphasis on military maneuvers, but despite literally thousands of Civil War reenactors recruited for the film, the wide-screen canvas fails to map the tactics or evoke the terror of battle.

Inept script delivers a series of juvenile gags.

A sunny, gentle action yarn with numbingly repetitive chase scenes and bouncy interludes of playtime.

The Identical evangelizes and entertains with sincere mediocrity. If the style is unremarkably mainstream, the message is theologically murky.

Director Bruce McCulloch, an alumnus of the Canadian TV show "The Kids in the Hall," lacks the sense of scale and timing needed for a feature film, and Lee's voice-over about fate that brackets the narrative only highlights its shapelessness.

You can laugh at lines like: "Hey, everybody, let's go inside and eat some cake"; "Leave your stupid comments in your pocket!"; "Man, I just can't figure women out. Sometimes they're just too smart. Sometimes they're flat out stupid. Other times they're just evil." In Wiseau's worldview, if "The Room" were a woman, she wouldn't be "evil" or "too smart." That leaves "flat-out stupid." [12 Feb 2012, p.B2]

Hogtown is the most original film made in Chicago about Chicago to date.

Michael Caplan’s Algren is a beguiling appreciation of the novelist, reporter and essayist.