Neil Genzlinger

Has some delicious moments, but you never quite shake the feeling that it’s documenting a tempest in a teapot.

The story stays intriguing for much of the way, but eventually things cease to make sense.

American Made Movie ends up feeling as if it were built from well-known facts and wishful thinking.

Mr. Moore has basically made an earnest but not very entertaining pro-Clinton campaign film, occasionally funny, momentarily heartfelt when he takes up the subject of universal health care and the lives lost for lack of it. Against the rest of his work (“Bowling for Columbine,” “Roger & Me”) it’s fairly tepid stuff.

Mumbly dialogue, relentlessly jittery camerawork, a star who is also co-director and co-writer: Yes, it’s time for another movie that mistakes the claustrophobic world of young New York artsy types for something interesting.

It's a lightweight romance that occasionally shows a sense of humor but seems afraid to turn it loose.

Matt Dillon and Kurt Russell may not make the most convincing half-brothers, but The Art of the Steal is a fairly amusing heist film with some sibling tension helping the story along.

The director, Mike Mendez, shows no signs of knowing how to make campy horror work the way that the creators of similar movies on Syfy do. It has to be either subtle or over the top. This is neither.

Every new generation has to learn the lesson: Comedy success on the small screen doesn’t guarantee the same on the big screen. If anything, it guarantees the opposite.

The most expensive home movie ever made, is one man's genial account of his trip into outer space.

Mr. Miller makes a questionable choice in setting the film against the backdrop of the 10th anniversary of Sept. 11, and he lingers too long on an offensive fringe group that hangs out near ground zero with signs saying the terrorist attacks were God's will. But for most of the way, his treatment is substantive and evenhanded.

Free Samples is a modest but pleasant small-budget movie with two bits of laziness in the script, but one particularly sweet performance that makes up for them.

Fans will love it; their main complaint may be that it ends too soon. Amateur psychologists in the audience, meanwhile, may be asking why such a successful guy seems so defensive.

Too much happens too quickly in The Hollars for the story to be credible, but the film has some likable qualities, among them the fun of seeing actors in unexpected roles.

It is aimed at younger children and includes pretty songs, but it doesn’t soft-pedal anything. Its low-key story is about friendship, but it’s also about loss, which should leave pint-size viewers with plenty to think about.

Do they have date movies in China? Probably, and Hot Summer Days, an enjoyable concoction of loosely intertwined stories of love and obsession, is just right for that purpose.

Christopher Plummer puts on a master class in acting, and his director, Atom Egoyan, delivers one in audience manipulation in Remember.

It avoids the big confrontation or grand statement; doing so allows it to be an effective, if somewhat uneventful, study of the Brooklyn bubble effect.

The film uses nonprofessional actors and has a good eye, but more story development and fewer lingering shots of the trash-strewn trailer park would have been an improvement.

A quirky offering by Kyle Smith that does nothing more or less than show a touch-football game among friends. "It's sort of interesting," you might find yourself saying, "but is it a film?"

The script, by Mr. Canon and Doug Simon, eventually strains credulity - even frat boys aren't this dumb - but Mr. Canon, in his first feature, shows a great knack for keeping things moving. The gathering implausibility is dispelled by a nice ending twist.

This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.

With a pair of irresistible leads and a straightforward love-overcomes-adversity story, Everything, Everything scores a direct hit on the teenage-girl market. Others might find it pretty enjoyable as well.

New Jerusalem feeling like an acting exercise in search of a theater class.

There’s nothing sophisticated or groundbreaking here, but the movie is a moderately good entry in the bro-grows-up genre.

There’s nothing wrong with being uplifting, but something less predictable would have been refreshing.

Enjoyable performances keep the tale from becoming too heavy-handed.

The movie isn’t interested in fully developed characters, just carnage.