Neil Genzlinger

Maybe expecting a horror film to have a point is expecting too much. In any case, the two actresses give committed performances on the way to a veiled ending.

A bit more editing to remove some of the airiness would have made for a better film.

Are these re-enactors really as clueless as they seem, or is the portrait just incomplete? It’s impossible to tell from this too-sparse film.

Now and then this documentary by Bert Marcus rises above mere promotion, leaving you wishing it had tackled the sport’s difficult questions in more depth.

This film doesn’t find any fresh ways to make you jump out of your seat. Ms. Lutz is appealing, though, and fans of the franchise will probably be pleased with the elaboration. Too many horror sequels are content merely to recycle what worked the first time.

It’s a boilerplate plot like one you might find in any morning cartoon.

The story may not stay with you, but don’t be surprised if you come away with a strong desire to visit Florence.

The film, though generous with doses of Heifetz in performance, isn't entirely successful at illuminating the man.

The film's most interesting aspects are its gimmicks rather than its frights.

A lightweight comedy aimed, presumably, at tweeners and fans of World Wrestling Entertainment.

An aimless film about an aimless fellow, but it's not without its charms. It may be without a point, but hey, you can't have everything in a no-budget film like this.

Although Language of a Broken Heart, a romantic comedy written by and starring Juddy Talt, eventually drowns in clichés and predictability, it has a few decent moments of humor and some appealing performances that make it marginally better than most vanity projects.

If the intent was to keep the characters here just as anonymous as most migrant workers are to prosperous people in the United States, it succeeds: Pedro and his family remain mere sketches. If, however, the aim was a more meaningful portrait of hardship and aspiration, the film is merely underdone. It's no secret that life in many places is hard.

Ms. Mann (Michael's daughter) does stage a bracing car chase, and Mr. Morgan makes an impression despite a story that's sometimes hard to follow.

Certainly the journey of Rachel Flowers, a blind musician and composer, is impressive, but Hearing Is Believing, a documentary about her, doesn’t put enough effort into giving her tale depth and context.

Only a couple of times do the stunts have that extra ingredient - wit - that makes this kind of thing amusing to watch.

Brian Malone's documentary Patriocracy feels as if it were made by someone who had been out of the country since the Clinton administration and upon re-entering was shocked at the polarized, dysfunctional state of the federal government.

If nothing else, it’s evidence that the digital age has opened up new ways to work through grief.

Relies too much on rehash and preaching to the choir to kindle a broad-based outrage, but it does make you wonder what really happened on May 24, 1990.

Getting retro right is harder than it seems.

You certainly feel as if you were getting to know the man as he really is, but that doesn’t necessarily mean you’re gaining much insight.

Over all, the movie, directed by Dan Harris and featuring name actors like Kal Penn and Janeane Garofalo in small roles, has a focus problem that leaves its humorous moments obscured and its intentions hazy.

Cedric the Entertainer's artless performance deadens what could have been a much funnier comedy.

it’s not as original as it wants to be, despite having the able Chris Columbus in the director’s chair.

In the end, though, Mr. Garbarski makes no judgments, which leaves this film feeling sweet but light: we already knew that Judaism, like most other religions, is an ever-evolving collage.

The movie's messages are delivered with a heavy hand, but some of the scenes are eye-popping, especially -- sorry, peace-loving Terrians -- the battle sequences.

This film, directed by Nicholas Stoller and Doug Sweetland, is a harmless enough way to occupy a youngster for an hour and a half. It’s just not especially rich in extraordinary characters or moments.

The whole film seems to have a vague heaviness to it. The best Muppet movies have been great because they had charm. There’s no charm here, really; just self-referential jokes, decent but not memorable songs, and lots and lots of cameos.