Marc Mohan

Sleeping with Other People turns out to be more entertaining than it sounds. The movie, that is.

A moderately enchanting, sometimes thought-provoking corrective to the flaws in the story that inspired it.

The movie knows enough, most of the time, to just let the funny people be funny.

It may not be the most memorable saga put on film, but as far as Miike is concerned, it doesn't have to be.

Youth may be wasted on some of the young, but the two aspiring Norwegian novelists at the center of Reprise, director Joachim Trier's debut feature, try desperately to avoid that particular cliche.

Just because others bear blame for what went on doesn't mean they bore none, and while the deal they got was raw, they never lacked the ability to say no.

It's not a five star film, but it's no Motel 6 either.

Life Partners may be a dispensable sitcom of a movie, but it's charming and cannily made.

The fascinating tale of master forger Mark Landis is especially bizarre, mostly because it doesn't involve the commission of a crime.

An action film without a completely empty head, and these days, that's as rare as Excalibur itself.

Significantly cleverer than its moniker, even though it picks for its satire one of the most inviting targets on record: the world of contemporary art.

Laggies doesn't reinvent the wheel, but it puts an engaging spin on the old canard about high school being the best years of our lives.

Overall, Luther does a satisfying job of restoring humanity to a woodcut icon.

This 90-minute exploration of the myriad ways Lego is great suffers from a relentlessly annoying narrator and a punishingly peppy tone. Still, if you're an AFOL—that is, an Adult Fan of Lego — or even a KFOL — you can figure that one out, right?—there's plenty to make it worth your while. If you're not, don't bother.

Remarkable, unheralded story.

A sometimes very funny movie made by very funny people.

An enjoyable sojourn into the world of Dickens and could inspire a trend. Shakespeare and Austen have had their Hollywood moments during the past few years; why not the proto-Hollywood Dickens?

Giamatti, in fact, makes off with a few scenes as the literally mustache-twirling antagonist, providing some welcome moments of over-the-top levity.

There will always be plenty of fictional geniuses solving impossible crimes, but Holmes, it turns out, it where the heart is.

A mordant, almost-too-dark comedy, but a comedy nonetheless.

It's visually appealing, but embodies the movie's (and Frances') problem: wanting to be taken seriously without putting in the real work required to prove you're actually serious.

Zach Braff has come up with a charming, funny, melancholy ode to twentysomething angst.

The film paints a by now familiar picture of suburbia as a pit of dysfunction, though some nice dark-humored moments and generally fine performances make up for a lot.

Bottle Shock never quite connects. And considering the more recent transformation of Napa, the movie's triumphant ending rings a bit false.

The movie is well-crafted and finely acted (including by the non-actors László and András Gyémánt as the creepy, affectless twins), but it never comes up with a new way to communicate its sadly familiar themes.

Overall, the trip successfully embodies the spirit of the original Magic Bus man, Ken Kesey, whom these modern-day pranksters visit in a poignant scene filmed just months before his death.

Exarchopoulos and Seydoux give their characters dimension and spark. Kechiche touches on issues of not only gender, age and sexuality, but also socioeconomic class. And if the movie doesn't quite seem to know when to end, it's because the director can't bear to say goodbye to these fascinating, fully-formed characters.

Some of the dwarves have nice individual moments, namely Balin (Ken Stott), Bofur (James Nesbitt), and Kili (Aidan Turner), and Gandalf gets to throw some potent magic around at Dol Guldur. But other than that (and the dragon itself), The Desolation of Smaug turns to be more of too much of a good thing.