Chuck Wilson

Watermark is a documentary filled with images both beautiful and wrenching, yet the film as a whole is a disappointment.

It Felt Like Love is brilliantly, brutally tactile.

A compelling but ultimately unsatisfying film.

Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.

Dark House is one nutty horror movie, but what's crazier still is how well it works — until it doesn't.

Date and Switch isn't a gay movie. It's a zippy, happy, buddy flick.

If the onscreen serial killer isn't having fun, how can we?

Devlin's script tips its hand so early on that Devil's Due lumbers toward a woefully flat, predictable ending, and the unwelcome promise of something truly demonic — sequels.

The stark prison Sabrina and a half dozen final contestants inhabit make the torture chambers of Hostel look inviting, but to their credit (perhaps), screenwriter Robert Beaucage and director Josh Waller never sugarcoat their grim tale.

Tucci and the English-born Eve make a riveting team, and although the film's final twist undercuts all that has come before, Some Velvet Morning is provocation of the most artful kind.

[A] clever but emotionally unengaging movie.

In this entertaining documentary, the coolest kids in town sing the praises of cartoonist Gahan Wilson, whose work is a brilliant fusion of the personal and the political.

If the characterizations are perfunctory, the performances give them unexpected weight.

Despite a few manic comic episodes, writer-directors Alexandre Charlot and Franck Magnier never again capture the sense of joyous connection that can exist between child and pet.

To use a phrase from the film, The Armstrong Lie is a "myth-buster." It's wholly necessary, brilliantly executed, and a complete bummer.

A vibrant color scheme and the deliciously evil cackle of Christopher Plummer elevate this kid-friendly animated adventure from Canada.

The cell phone reception in Dracula's castle is pretty bad, but it can't be as frustrating as trying to fathom the plot of this woefully muddled horror film.

Immigrant is reportedly based on writer-director Barry Shurchin's own family history, but the story he's chosen to tell is so melodramatic and relentlessly grim that any passion he feels for the material isn't reflected onscreen.

Bridging the Gap is gorgeous and weird.

Aided by capable if unnecessary 3D effects, Petty displays a flair for staging violent action, but he's trapped inside a broad comic set-up that doesn't mesh with the story's innate meanness.

The Summit is at its most powerful when the filmmakers simply tell the tale, which gradually develops the unsettling suspense of a horror movie, with K2 cast as the implacable killer.

Although Thornton and co-writer Tom Epperson are clearly trying to get to some essential truth about the ways in which machismo hinders love, their insights are scattered and pedestrian.

Writer-director Christian Vincent and co-writer Étienne Comar, aided by Frot's quiet intensity, imbue Hortense's quest to pull off culinary miracles with an urgency that's almost absurdly compelling, and all the more entertaining for it.

Dead Before Dawn's best jokes are grounded in the warm, believable camaraderie between Casper and his friends, but Mullen is less confident with crowds. The zemon-horde attack scenes are a visual jumble.

The smash-and-crash chase scenes are numbingly dull.

From cinematographer Corey Rich's beautifully framed footage, Wampler's wife, Elizabeth, making her directorial debut, has assembled a stirring film that's part documentary, and part promotional tool.

This Is Martin Bonner isn't exciting, but it's also never dull.

Lowery isn't a Malick and he's certainly no Kazan, but he's his own man, and a filmmaker to watch.