Lou Lumenick

Frey's harrowing depiction of this milieu transcends the indifferent acting and contrived plot.

Atmospheric and moves briskly, but it's basically TV writ large.

You know a low-budget indie has problems when it's less emotionally honest than a studio-backed project like "(500) Days."

I don't think we're expected to take After.Life any more seriously than Ricci's last extended (near) nude role in the immortal "Black Snake Moan." That one was more fun.

“Risky Business” it’s not, and Delevingne is no Rebecca De Mornay.

The film at least achieves the level of mediocrity thanks to the professionalism of two slightly younger participants — Kline and Mary Steenburgen, who also have Oscars on their mantels but go well beyond phoning it in here.

A fussy piece of schmaltz that makes you long for "Stand By Me," a vastly superior coming-of-age tale from King's pen.

There are a few decent jolts in Disturbia, but overall this ultra-predictable thriller doesn't live up to the hype.

Out of the Furnace is much longer on style and belligerence than actual substance.

Seriously lost in the woods. This aimless epic about a pair of charlatan brothers sinks under the weight of a problematic script, questionable star casting, hamfisted editing -- and penny-pinching by Gilliam’s latest patrons, the Brothers Weinstein.

A glacially paced, emotionally frosty epic (with a top-drawer cast).

Becomes almost laughably melodramatic and wields just about every rock-movie cliché in the book.

The Secret Life of Bees showcases Fanning, who is growing into an impressive teenage actress - even if a scene where she licks honey off an older boy's finger is, well, creeptastic.

Infuriating grab-bag of a movie.

It isn't the laugh riot of the year.

Slight and unremarkable.

A glossy, empty and ultimately unsatisfying — if undeniably entertaining — movie.

The once-funny Robin Williams is still stuck in his excruciating touchy-feely mode.

Disappointingly skin-deep and almost shockingly wholesome, Mary Harron's The Notorious Bettie Page lives up to neither its title nor its advertising slogan, "the pin-up sensation that shocked the nation."

McKellen, Csokas, Bonneville and particularly Richardson are so good and convincing in their characterizations that you can almost overlook the increasingly unbelievable twists that Asylum takes. Almost.

It's a reasonably funny religious satire that takes potshots at easy targets but is quite watchable due to the participation of two Oscar winners and two Oscar nominees.

District B13 looks great, but don't let those subtitles fool you. At heart, it's every bit as proudly dumb as its American counterparts.

Was Alma a masochist? Repressed? Neurotic? A pre-feminist? Don't look for insight here.

Amusing without being particularly biting.

To put it as positively as possible, there's never a dull moment in this flick - and that's not something you can take for granted at this time of the year. At the same time, though, there's rarely a believable moment in the script.

Sometimes painfully sincere male weepie.

Too much of the film is given over to the soap opera of Elmer's life.

Sporadically entertaining, occasionally quite funny.