Elizabeth Weitzman

If you’re wondering how much heat you’ll find in this French romance, the title offers an unexpectedly frank clue.

Director Bertrand Tavernier’s amusing new political satire isn’t toothless, but it could use more bite.

Too bad this would-be heir, Divergent, is so unimaginative and bland.

Predictable as the adventure may be, the company — and the countryside — make it worthwhile.

The unexpected chemistry between Sam Rockwell and Olivia Wilde helps balance this sour noir comedy.

Director Jonathan Sobol clearly understands the first rule of a good grift: misdirection. He packs his middling caper flick with so many known faces, it’s easy to miss all the other familiarities.

For his directorial debut, Bateman returns to his bad-boy beginnings. And the results are predictably amusing.

It’s so much fun you may want to put a few bucks aside for a sequel.

Burrell doesn’t quite capture the wry deadpan of the original, but then, neither does the movie. That’s okay.

Chow’s movies are always as sweet as they are silly, a combination he once again balances — alongside cool effects — with typically deft irreverence.

We see brief, graphic shots of naked actors performing sexual acts. But it’s the conversations about what those depictions represent that truly provoke.

Early potential fizzles away too quickly in this underachieving buddy comedy, which just barely skids along on the charm of its co-stars.

So do the minutes. They stretch on as one tiresomely quirky sadist after another appears. Cusack is typically likable and De Niro is amusing in his brief scenes. But unlike Jack, you’re too smart to make big sacrifices for so little return.

It’s worth seeing Robert May’s vital judicial expose — not only to learn about the titular scandal, but also to appreciate both the highs and lows of human resilience.

The second film from Enid Zentelis (“Evergreen”) comes across as a heavy-handed message movie. And its presence in theaters can only be explained by the participation of Oscar-winning lead Melissa Leo.

Director Christopher Spencer’s biblical yarn lacks the complex rigor of Martin Scorsese’s “The Last Temptation of Christ” and the fury of Mel Gibson’s “The Passion of the Christ,” leaving its star, Diogo Morgado, stuck in a film that’s stiff and earnest.

Karasawa captures the flinty, ferocious nature of her subject, Elaine Stritch, with just the right amount of clear-eyed respect.

This ill-advised romance from director Andrew Fleming is the sort of indie lark that nearly drowns in its own whimsy. Wade in at your own risk.

Stephanie Riggs never manages to develop her debut documentary about Broadway performers into a satisfying feature. But the stories alone ought to be appreciated by theater fans and, especially, aspiring actors.

Bill Carey’s uneven first film, centered on an isolated Texas teen named Vallie Sue (AJ Michalka), has some offbeat charms. They are not, however, strong enough to carry such a heavy load of cliches.

What do we do about a movie that is half compelling and half unwatchable? Director Charlie Stratton seems to be onto something at the start of his period drama In Secret. Then it all slips through his fingers.

The whole movie hinges on the allegedly miraculous romance between Beverly and Peter, but Goldsman’s leads are distractingly mismatched and lack even a spark of chemistry.

If you’re looking for a Valentine’s Day date, this version is probably a better choice than the uncomfortably swoony original would have been. You might be bored, but at least you won’t be embarrassed.

Painfully dull thriller.

The real challenge is for viewers, who must tolerate overacting, idiotic scatological jokes and juvenile innuendo. The only way it might be endurable is if you’re wasted, too.

Classical dance great Jacques d’Amboise calls Tanaquil LeClercq’s style a “path to heaven.” And this lovely documentary by Nancy Buirski makes clear that he’s right.

As full-length toy advertisements go, you really couldn’t ask for more.

Coco’s angry frustration, Pug’s bruised confusion, and the police helicopters constantly hovering above the defiant bikers say enough.