Michael Rechtshaffen

While the slim sampler platter would be more at home on an "Exorcist" commemorative DVD release, the documentary, accentuated with unnerving bursts of music sampled from the works of neoromantic composer Christopher Rouse, should placate the rabid fan base.

While it has its moments of pure Farrelly inspiration and swell performances from Matt Damon and Greg Kinnear...the patented blend of the outrageous and the sweet that has become the brothers' trademark struggles to find the desired balance here.

Even as it treads on familiar Stephen King (“The Mist”) and John Carpenter (“The Fog”) territory, the film has moments that will leave you gasping for oxygen — as long as you choose to avoid all those gaping plot holes.

While its two credible leads are certainly up to the challenge, there's a relentless claustrophobia that prevents the film from taking on a fully dimensional life of its own.

Queen Latifah finally gets a vehicle that gives her formidable talents and expansive spirit plenty of blooming room.

Like an uncle making a long-winded, embarrassing toast to the bride, Smith may have a lot of defining childhood memories at his disposal, but that doesn't mean they all need to be shared.

It's frustrating to see this wonderful-looking, laugh-out-loud funny survival tale fall short of its potential.

With the colorful Allison — he’d fit right into one of KFC’s revolving Colonel spots — and narrator Woody Harrelson at his disposal, Haney could have easily done without all the glossy dramatic recreations and frequent shout-outs to Bristol-Myers Squibb, which occasionally create the undesirable effect of a corporate promo video.

Copeland's victories are shortchanged by the film's prevailing sense of detachment from its main subject.

Despite the unique premise and some truly inspired casting, the picture remains stuck in an existential rut of its own.

After a very funny start, there just isn't enough content to fill the feature-length curriculum.

Although Fontaine, a former soap opera actor, hits the saga's sins-of-the-fathers theme too often, there's a palpable small-town-in-transition feel to the fictional Braxton.... And there's no denying Fontaine's reflective but rumpled Rolando Ramirez is an interesting protagonist.

While undeniably a rough-around-the-edges first feature, there's something so appealingly genuine about Arkansas-based Justin Warren's loosely autobiographical Then There Was Joe, that you're willing to forgive the shortcomings.

Works better than one might think, thanks to the group's modus operandi, which combines a fundamental reverence for the target material and a sly irreverence that's key to their skewering technique.

Rather than further expanding those seemingly limitless SpongeBob horizons, the live action/CG stuff never satisfyingly jibes with the traditional nautical nonsense down below.

If Weather Girl were to furnish its own forecast, it would be something along the lines of "Warm and breezy before becoming overcast and muggy late in the day."

While we may have been locked up with these characters before...Cohen's unwavering commitment nevertheless commands attention.

Although it has some commitment issues in terms of wanting to be both a probing domestic drama and a flat-out thriller, Aaron Harvey's The Neighbor finds a sturdy constant in its thoughtfully delineated performances and handsome production values.

You People busts out of the gate with the lit, razor-sharp zip of a “Dear White People” only to limp across the finish line with all the edge of Up With People.

Thanks to a sparkling ensemble headed by Francois Cluzet and Marion Cotillard, the familiar backdrop still provides ample opportunity for audience pleasing in Guillaume Canet's nicely observed dramatic comedy.

Although a number of the gags fall flatter than a crepe, the accent is on the charmingly juvenile as opposed to the purely puerile, with a fresh-faced cast of amiable young performers on hand to make the trek relatively painless.

Cruises along agreeably on the easy chemistry between Ben Stiller and Owen Wilson, who step in where Paul Michael Glaser and David Soul left off.

A frostbitten B-movie can still provide a little welcome relief in the dead of summer. Edge of Winter suffices as a diverting breath of recycled cool air.

It's very much in "A League of Their Own" league, but what the inspirational sports drama Believe in Me might lack in freshness, it nicely compensates for in heartfelt, winning conviction and spirited performances.

Although it has its involving moments, the watered-down Waugh fails to make any kind of lasting connection.

While Little has a assembled a sharp ensemble, including Bruce Davison as the sheriff who hunts down the felons and the late John Heard as the prison warden, it’s ultimately the hardened intensity of Patrick’s commanding portrayal that gives Last Rampage its take-no-prisoners tautness.

Get past what sounds like a melodrama about a forbidden love affair, and director Oren Jacoby's carefully crafted film deftly blends archival footage with dramatic re-creations and interviews with surviving family members to illuminating effect.

Ultimately falls short of reaching the pleasingly pulpy heights of an "L.A. Confidential" or a "Chinatown" despite those obvious aspirations.