Joe Neumaier

Willing as Campbell is to Shatner-ize himself, his movie will appeal only to true believers.

Avengers: Age of Ultron is a kinetic, wicked mix of muscle and magic. Look no further if you want a world of superpowered freaks and geeks. But be aware: It comes at a cost. Vaporized in the parade of action and characters is the wonder and simplicity of its first, superior entry.

This muscular, red-blooded adventure has a decent heart and the stuff of Saturday afternoon serials running through its veins.

Most of the young men interviewed by Berg will be seen, and heard, by many audiences for the first time. Their voices are hard to forget.

Nowhere near as kinky or thinky as Soderbergh’s "sex, lies and videotape," Girlfriend pretends it has more on its mind than it really does.

The G.I. Joe team is back, and most of their sophomore movie adventure, G.I. Joe Retaliation, is as bland as their name and as subtle as an exploding tank.

Abe's day-to-day trials may eventually seem like cheap daytime TV, but Gelber and Solondz know how to nail the uncomfortably funny optimism shadowing American desperation.

Clayman, who co-directed with filmmaker friends, is fascinating company.

Narratively static and morally banal. That may be par for the course, however, when half the movie is spent watching shallow kids try on other people’s clothes.

Has two aces going for it: Soderbergh's poking at the maze­like holes in American business and Damon's whirling dervish performance.

The oh-so-out-there mentality earns some chuckles, but that, along with Piven's preening, gets very trying. A hard sell is still a hard sell.

Alas, this learned woman of letters - her expertise became the work of Dostoyevsky, whose major novels Geier nicknames "the five elephants" - is ill served by a trudging approach and dry-as-dust, procedural style.

Only the extremely naive will be shocked, shocked by director Morgan Spurlock's dissection of product placement in movies.

The faces and voices are endlessly compelling as they talk about what inspires them to lay down beats and recall the early days in New York. Ice-T, disentangled from acting, makes himself a fine focal point.

Roth's works are particularly hard to do justice to onscreen, perhaps because the celebrated author's personality is really in his words

Kick-Ass - based on a graphic novel - thinks it's so brave and bold. But it's more like the title character, a dweeb who just thinks he's tough.

Director Marc Webb's action-adventure is grounded in a recognizable reality, but is also full of thrills. It's dark and mysterious, but doesn't skimp on fun.

This is a terrific time capsule with a resonant message.

The actors click into high gear, and Premium Rush delivers.

Splice is an unholy mess because it fuses together the worst parts of every bad medical-monster thriller, and then boldly cranks up the ridiculous.

The man-versus-the-natural world story is in Weir's wheelhouse, and Harris and Farrell get into a scene-stealing duel. Worth the trek.

To sing the praises of the movie but not give away the revelations is difficult. Let’s just say this: The less you know about what happens in this funny, tasty twisteroo, the better.

Our time spent with Nenette feel as stifling and airless as hers.

The film is put together too choppily to appreciate the bounce-off-walls athleticism of parkour. That’s a shame, since “District 13” star Belle is known as a founder of the sport.

Kekilli sensitively portrays Umay's conflicted despair, and the relationship with her son is beautifully rendered.

If you're not in that demographic, don't dismiss it. You'll miss out on a genuinely sweet, perfectly acted, remarkably brave little movie that should make audiences swoon for something they thought was gone - a smart dramedy for grown-ups.

Texas Chainsaw 3D sees itself as over-the-top and knowing, but what we ultimately get is simply eyes without a face.

A singularly full-hearted and moving film.