Kyle Smith

If Ed Wood had directed "The Silence of the Lambs," it might have been as unintentionally hilarious as the goofball would-be thriller The Abduction of Zack Butterfield.

Two dull people have a dull love affair in Summertime, a French drama that drags on like an August afternoon.

Just when this thing seems dead, though, the movie picks up considerably, and the much-better second half nearly redeems it. I give the credit to an experienced conjurer of the unexpected triumph: Peyton Manning.

The twists are executed superbly, right up to a climax that fits the David Mamet definition of what makes for a perfect ending: It is both surprising and inevitable.

As a love story, Fantasy Life isn’t particularly original, but the low-key way Mr. Shear realizes some familiar situations is warm and human, with comic aspects and sad ones kept in an appealing balance.

The film's attempt at a sort of beautiful anguish works best in its middle section. It takes far too long to get going, and it doesn't have much of an ending.

The considerable talents of Banks make the movie bearable.

Its plot is simple and direct, albeit enlivened by well-timed surprises. The film isn’t especially funny—droll is more accurate—but its approach to Antoinette’s character adroitly balances sympathy with mockery.

A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.

Though Despicable Me is a little ragged on story, it's got a lot of imagination and a heart as warm as a fluffy kitty.

What started out as something that promised to be akin to a droll, twisted Coen Brothers comedy instead wanders off into reverie. And when the movie ends, critical questions are simply left unresolved. Mr. Cronenberg may not care about closure, but a movie can benefit greatly from it.

This indie documentary is egregiously Hollywood in spirit. That a take-charge white football coach can buck up a place like Manassas HS with some gridiron grit is a lie we want to believe.

There needs to be a 12-step program for movie people to stop sharing their "deeply personal" yet insight-free stories of addiction.

Even at a cramped and frenetic 82 minutes, the movie feels long. That’s what happens when the audience can guess everything that’s going to happen in advance.

Inspector Bellamy leaves a sense not unlike a summary of Chabrol's entire career -- of guilty stains seeping away in every direction, of motives hidden and of endless stories that frustrate full understanding. To Chabrol, no life is ever a closed case.

At 86 minutes, the film spends exactly 86 more minutes with its subjects than can possibly be tolerated. Coincidence?

Turing’s tale needs to be more widely known, and while The Imitation Game may not be a great film, it is an important one.

A wan effort at "Annie Hall"-style comedy, has about as much Manhattan sophistication as a gas station in Chippewa Falls, Wis.

Adults will sniff out a general air of phoniness - the period detail isn't particularly convincing, and the Scottish factor is overcooked to the point where the script starts to resemble the national cuisine.

Although it is unashamedly a genre piece, Heretic is not only an expertly engineered work of suspense but also an ingeniously structured colloquy about the most deeply held belief systems.

A cinematic enchantment, a low-key 1970s-style kids’ movie brimming with sincerity and heart. It’s one of the best films of the year.

The real mystery is this: Even if you find this guerrilla art project utterly fascinating, why would anyone bother to release an incomplete film about it?

The misleading documentary Trumbo paints a golden nimbus of holiness around the onetime highest-paid screenwriter in Hollywood, Dalton Trumbo, an on-the-record hater of democracy, defender of authoritarian rule and avowed Communist.

The direct, intimate way in which the movie is filmed and acted, however, makes it an affecting study of two people’s attempts to forge some kind of relationship despite huge psychic damage on both sides.

Any movie that finds a plausible reason to give Lindsay Lohan a nun's habit and a machine gun is worth your attention.

War was both cruel and magnificent, as Churchill once put it. To Gibson, it still is.

Grunting and boarlike, Gérard Depardieu supplies a one-note rendition of Dominique Strauss-Kahn in Abel Ferrara’s peculiarly unilluminating Welcome to New York.

What’s the difference between “21 Jump Street” and 22 Jump Street? Same as the difference between getting a 21 and a 22 at blackjack.