Peter Hartlaub

An often amusing but also an aimless and forgettable animated comedy that is noteworthy mostly for its random musical numbers and surprising amounts of violence.

Naysayers have been claiming for years that the "Moneyball" book wouldn't work as a movie. But ultimately, it's the cinematic touches that keep this film version from becoming something exceptional.

There's little illumination.

A film that defies lowered expectations — if not the tired adolescent mind-set and poor joke-writing — and emerges as the best in the series.

It's a homemade protein-and-steroids smoothie of a plot, combining elements of gore, self-parody, 1990s nostalgia overload and an attempt to say something -- while actually saying absolutely nothing -- about the American dream.

The story is painfully simplistic, and it becomes quickly apparent that the narrative is a crude cement to hold together the carnage.

If Insidious 2 exists solely because Insidious 1 made a ton of money, then at least credit Wan for making quality control a priority.

Difficult to watch, and the film is sabotaged by an impossibly naive lead character and the repetitive auditions that become gratuitously depressing.

The makers of Man Push Cart seem so dedicated to making a film that defies Hollywood conventions that the finished product lacks enough entertainment value to justify price of admission.

The documentary isn't particularly thrilling, or even very informative, but it's almost certain to lower your blood pressure for 83 minutes.

The result is 50 percent more realistic than the average sports film.

The “Diary of a Wimpy Kid” series has been, at its core, “Alvin and the Chipmunks” without the rodents.

The movie is an enjoyable but flawed attempt at an epic story, with too much of the best action concentrated in the beginning.

Chasing Trane celebrates its subject with great passion, but it often feels like walking in late into a good party.

An occasionally rousing but mostly just adequate sequel to last year's "Planes."

Unfortunately, the inspired concept is coupled with weak screenwriting, and the movie turns out to be much more fun to think about than it is to watch.

To cover the Abramoff scandal is to follow tangent after tangent, until it seems as if prison was in the lobbyist's plans from the beginning.

The filmmaking is unremarkable, but the obsessiveness of the lead character is infectious enough to make this drama passable entertainment.

Many of the individual scenes are compelling, with a gritty tension that recalls "The Wire" and other good television. But too many of the attempts at "The Sopranos"-style comic drama fail.

The new Disneynature film lacks the fortuitous plot turns found in previous Disney documentaries, resulting in some awkward (and possibly deceptive) editing. But the movie has a strong protagonist and impressive footage, and the educational core is unsullied.

“Thank You” is flawed, with a structure and pacing that dull the viewing experience, even as the message drives through. It’s a great discussion starter, but not a great finished product.

Ponderous, repetitive and lacking a single rousing action sequence.

Well-scripted, well-acted and occasionally sexy, but just isn't all that interesting.

Kung Fu Panda 3 has a moment or two for everyone, but no chance develop any character beyond a single dimension.

Most audience members will probably want more.

The film often stumbles in translation, trying to define too many characters in too little time.

The Providence Effect" is flawed, but it's still a moving film.

Although the finished product isn't great, it's more akin to a bad Steve Martin movie from the 1980s than bad Pauly Shore from the 1990s. We mean that as a compliment (sort of).