Connie Ogle

The bigger problem is that neither Jolie nor the script bothers to flesh Louis out as a fully formed person with faults and fears and regrets, which keeps the film from ever capturing you emotionally.

The film, bound to bore the socks off impatient viewers, mistakes reserve for depth and ends up hamstringing its talented cast into playing characters you never care about all that much.

Stoker is the sort of stylish, cerebral movie that engages your brain instead of your emotions, and yet you’re never less than intrigued by the breathtaking visual artistry of this slow-burn thriller.

Absolutely Fabulous works best consumed bite-sized; there’s not enough here to warrant a full-length movie. Too much feels like padding.

There's nothing offensive about Barbershop 2, and maybe there should be. But even if the film plays it safe, it remains a cut above other mainstream comedies.

Maybe it's a measure of the numbing awfulness of romantic comedies in general lately, but Definitely, Maybe isn't nearly so bad as you might fear; it's actually fairly pleasant, a bit too off-color to be a family film but enjoyable just the same.

There was, however, another question the screenwriter should have asked: Why does the script focus on the wrong couple?

Mom (Elisabeth Shue) suffers from the fatal movie ailment of being so underwritten she's practically see-through.

Inherently laughable, but in all the wrong ways.

This is 40 is crude and dull, with a supporting cast that reminds you how utterly uninteresting the main characters are.

Wimbledon may have its faults, but it's the sort of upbeat fantasy that's tough to resist. Maybe love wins in tennis after all.