Robert Koehler

The question isn't where is the love but where are the laughs?

A work that continually seems on the verge of genuine excitement but sabotages itself at every turn...results will intrigue only those interested in the nooks and crannies of Mamet's career.

Sometimes veering close to being a promotional film for the Special Olympics, pic will be applauded by the disability community and its advocates but quickly ignored by longtime fans of the Farrellys and Knoxville.

It will serve as a fine entry point for younger auds interested in learning about the price paid by moviemakers and their families swept up in the 1950s anti-Communist net.

Conceit often stretches -- and breaks -- the limits of what the tales can handle, though the implication of viewers as voyeurs gives pic a subversive edge.

Messy admixtures of drama and mockery crucially undermine pic's serious message.

Jacobson produces a remarkably creepy piece of cinema that disturbs by suggestion, nuance and ambiguity.

There's remarkably little done with a premise snatched from high-concept heaven, adding yet another file to the growing cabinet of under-realized comedies.

What sends this initially tense thriller over the precipice is a plot scheme that never knows when enough is enough.

Few recent movies have conceived their central female character more contemptuously -- a fanatic for a lifestyle that appears to have come from the bestselling "The Rules."

Gleefully upends expectations and delivers an energetic comedy tracing two guys'all-night search for the perfect White Castle burger.

A virtual template of every imaginable cliche of the musical biopic, picture suffers from a lack of narrative and character focus

Exudes a pre-fab quality.

The moments of inspired originality are all too infrequent. There's enough eye candy and marvels on screen, however.

Christian Bauer's engaging The Ritchie Boys captures the excitement, ironies and "good war" feel of World War II.

Director David Zucker, a master of whacked-out visual comedy during his “Airplane!” era, drops the ball here.

Interplay between a jaunty Freeman as an unemployed movie star and the magnetic Paz Vega as a no-nonsense grocery store checker gives pic humanity and lift.

Though animated sequels of popular kids' fare tend to perform lower than their progenitors, this one should buck the trend.

A powerful premise turned into a stubbornly flat, derivative war movie.

May leave itself open to charges of being little more than a promo feature posing as a documentary, but pic nevertheless is a warts-and-all look at a group of musicians -- and the music biz -- likely to make most record label flacks flinch.

Pic's future as a cult item is a sure bet.

Though quite routine on the logistics of deep-sea exploring, pic develops a visual style as it replays the events of the sinking that some viewers may find more visually exciting and satisfying than what Cameron staged in his original mega-blockbuster.

A sign that the Sandler comedy empire is expanding and reaching new depths of pure gross-out stupidity.

Apparently needing to release some private thoughts, musings and images to the world, Anthony Hopkins takes a leap into stunning self-indulgence with his directorial debut, Slipstream.

Ochoa is such a masterful actor that he makes things fairly interesting despite the script, with Hernandez and Espindola well-cast as two young men operating by different moral compasses.

Sensitively and methodically tells the story of the first U.S. soldier killed in the 2003 Iraq invasion.

A meandering, semi-improvised tale of a terminal Gotham loser who works as Santa when he bombs as an actor.

Bruce's efforts to retrace and recover his life after his memory loss contain all the drama and uncertainty of a fine psychological drama.