Neil Genzlinger

For the first half of the film, amusing monster humor keeps things interesting; some monsters, it turns out, are better at party games than others.

The film is at its strongest when Russell and Kevin face tests of their character brought on by their interactions with homophobic students.

The story has several well-disguised twists, and although it’s a drama, it is sprinkled with touches of whimsy, thanks to a colorful collection of robots.

Cars could easily have been the stars of Lowriders, but the film makes them supporting players in a family drama that’s a mix of strong scenes and shopworn ones punctuated by clichés.

The film, especially in its resolution, feels a bit like a “Twilight Zone” episode and might have been better at that length, but the acting’s pretty good, and the cinematography keeps things lively.

A dandy little documentary whether you view the story it captures as a precursor to the flash fame of the Internet age or as one of the last genuine underground phenomena before the Internet made that whole concept obsolete.

[Todd Phillips] delivers an entertaining tale, especially when one or both men have to travel from their home base in Florida to overseas hot spots to correct their ineptitude.

It’s tantalizing, sublimely creepy stuff that keeps you guessing even after the credits roll.

Parts of it work, but the overall package is never really suspenseful enough to have you on edge or overtly funny enough to be a lark.

Characters this nicely etched deserve a more complete conclusion.

Yet the urban images he presents are missing the thing that makes any city come alive: human beings. You begin to suspect that Mr. Persons hates humanity. This makes General Orders No. 9, for all its sheen of sophistication, rather simplistic: people bad, nature good.

Ms. Bailey’s willingness to let the children talk and to let the viewer impose broader meaning elevates it.

Mr. Perry has his moviemaking machine running smoothly, which is to say somewhat predictably.

The movie is at its most interesting and amusing when riffing on how cavemen might have reacted to new experiences and ideas, like fire and shoes. Whether the kiddies will appreciate that is unclear, but they’ll certainly like the voice work done by Emma Stone as Eep.

Mr. Morelli mixes live-action and animated scenes to good effect. He doesn’t have time to give his characters depth, but there’s pleasure in figuring out how they connect and pondering the movie’s modest themes.

A starry father-son pairing is largely squandered in Forsaken, an old-school western that is a little too old school for its own good.

Sure, you've seen this story before, but this version has a freshness nonetheless.

It’s a smart, understated sex comedy, a description that suggests a certain maturity. You’d never suspect it was the first feature from its director, Robert Schwartzman.

Mr. Walker is convincing as a man battling grief, exhaustion and, occasionally, an intruding outside world where lawlessness has taken hold.

A charming concoction with positive messages for younger children about conquering fears, understanding outsiders and knowing yourself.

A riveting piece of work full of unpleasant characters whom you're glad you've met but never want to see again.

The South Korean director Kim Jee-woon fails to dazzle with the endless speeding-car sequences, but that 60-second flourish during a lengthy firefight is almost worth the tedium.

The film, directed by Gregg Bishop and released by the Chiller Films horror factory, has a few good special effects, but it’s too noisy and scattershot to be suspenseful.

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.

It’s hard to score big laughs with hidden-camera material these days because there has been so much of it since the “Jackass” TV show, but Mr. Knoxville and his young sidekick still land a few jaw-droppers.

If "Wall-E" pushes the boundaries of what can be done in an animated movie, Space Chimps proves that the old formula is still pretty effective when executed well.

The two stars are attractive, and Emily Ting, who wrote and directed, makes the city look great, but during their endless strolling Ruby and Josh never get much beyond shallow banter.

The director, Harold Guskin, and writer, Sandra Jennings, show admirable patience in letting the story unspool, and the actors reward them.