Marc Mohan

Sometimes it's fun to put on costumes and wigs and just goof around.

County Clare holds little of interest, with a generic story line and a cast that's mostly just going through the motions.

Despite the fact that its pace turns somnolent at times, and some of its themes feel somewhat clichéd nearly a half-century on, this revival offers a fantastic entry-point opportunity to one of cinema's singular figures.

This gritty take on Grimm's suffers from mannered supporting performances and an inconsistent level of realism.

There's a conflict between the film's need for some sort of closure and the messiness of the reality it depicts that leaves The Whistleblower even more unsatisfying than it was meant to be.

What makes Miss You Already work (when it does work, which is most of the time) is that it shows imperfect characters dealing imperfectly with situations ranging from the maritally frustrating to the existentially overwhelming.

Tries to pretend that its premise isn't timeworn, and thanks to charming lead performances, it almost succeeds. But not quite.

There are laughs to be found, as unfiltered improvisations on subjects such as Viagra, home electronics, pot cookies and the end of "Lost" come fast and furious.

Lyrical and gorgeous, it indulges in enough trademark Malickian touches to seem almost a parody of itself.

The actual video footage of some of the incidents recreated in the film, which play with the end credits, makes it clear that sometimes reality can be as hokey as fiction.

Its smallness of scale, and undemonstrative nature, could make it a welcome change of pace from Hollywood bombast, especially for fans of the life aquatic.

An immaculately crafted, splendidly acted drama with a message at its core of forgiveness and humanity. It's also blatantly manipulative, and, upon reflection, rather banal. In other words, it's the epitome of Oscar bait and almost serves as a step-by-step guide to creating such a beast.

One of the most lifeless and predictable movies you're likely to see this year.

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.

Remarkable, unheralded story.

Ultimately, The Keeping Room feels more like a clumsy melding of "Unforgiven" and "12 Years a Slave" than a unique take on violence, race, and gender.

While these interviews are affecting, and the movie talks about suicide in a refreshingly straightforward manner, it's the images of these actual deaths that induce horrified gasps.

This may have been fertile grounds for satire in 1925, when Noel Coward's drawing-room melodrama Easy Virtue debuted on the stage, but by now this film version feels rather done.

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.

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.

Wrong never feels dangerous or truly challenging, content generally to amuse rather than amaze.

Perhaps the most amazing thing about this story is that it would have been lost to history had not American spelunker Chris Nicola happened across mundane relics -- buttons, shoes and the like -- while exploring the cave complex in the 1990s.

It's a fantastic high concept to wrap the film around, and Gervais comes close to fulfilling its potential, especially when he tells a comforting deathbed lie to his dying mother and accidentally invents religion.

The relationship between Trishna and Jay never rings as true as it needs to for the downbeat third act to resonate the way it was presumably intended to do.

It doesn't take an awareness of the ethnic and cultural differences between the miniskirted siren and the shy Arab youth to see that she might be more than he can handle.

A twisty, darkly comic story of greed, betrayal and murderous misunderstandings.

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

Thor meets the elevated expectations for superhero movies today, but doesn't exceed them. There's some sloppy plotting, which always shows a certain disregard for the audience's intelligence.