Robert Koehler

The winner by a knockout is Eddie Jones...Without Jones, pic is a standard drama on the sweet science with the usual tropes and a slight tweak on the usual conflicts.

Good-natured but only memorable as a platform for the amusingly feisty Peter Falk, The Thing About My Folks plies a light approach to the problems grown children face when their parents appear on the verge of divorce.

Extraordinary perfs by a mostly young cast likely will be cancelled out by the grim subject.

With intermittently amusing glee, writer-director Ryan Shiraki's tyro film, Freshman Orientation, frolics through the political minefields of a typical college campus.

Powered by exceptional displays of physical filmmaking, Deep Blue Sea is pulled back to shore by the usual suspects -- weak plotting and weaker dialogue.

Because plot is the sum total here, the alarming holes, inconsistencies and impossibilities in Chris Morgan's script corrode this drama of distress.

A satire for its time. What Judge is less sure of here than in his previous, perfectly pitched live-action comedy "Office Space," is how to build a complete movie around his key ideas.

Unlikely to draw new fans but destined to please followers who couldn't catch the live act.

A mixed bag of near-risible storylines, second-rate CG effects, some fabulous set pieces, somewhat cartoonish martial arts fighting and difficult international casting.

A determined and often affecting romance that doesn't speak down to audiences.

Comes too late, far surpassed by similar and more visually stunning devices in "The Matrix," and even by the mind-bending realities of "eXistenZ."

Picture's leaps into the fantastic and rampantly farcical tend to be overextended, but finally don't detract from what is a well-judged, light entertainment.

Alternates too deliberately between jaunty comedy and serious message-making.

More interested in finding fresh ways to stage execution scenes than in finding meaning behind the human urge for self-appointed righting of wrongs, (the film) is stuffed with effects that have no lasting impact.

Superior family entertainment.

Obediently follows the verities of the submarine movie and its true story origins but without the imagination needed to refresh the genre.

Admirably jostles and upends the fatigued killer-for-hire genre.

A sweethearted trifle.

Though tinged with the sheer gumption and personal resolve of amateur vidmaker and would-be rapper Kimberly Roberts, this is ultimately a minor doc contribution to the bulging library of Katrina-related films and TV reports.

A sweetly raucous adventure. Widely quoted comparisons to "Billy Elliot" and Tim Burton overstate the case for what is really a modestly eccentric entertainment.

Never entirely convincing yet always watchable.

Imax 3-D process has lost its original novelty, and little is done in Deep Sea to find new and exciting ways of using the medium.

Renee Zellweger, in another Blighty role, struggles to make Beatrix credible.

Deeply influential, even to his enemies, Atwater's career is viewed here with fascination and some sympathy.

Taking control of what would otherwise be a trite and preachy fable about the need for African American families to accept their gay brethren, Devine builds a jolly and touching character from the stock figure of a Georgia mom coming to terms with her disaffected gay son.

Sharp wit but shaky storytelling.

This wobbly docu-drama ends up being caught in between the impulse to make theatrical a true story and the usual Imax mission of imparting information about the natural world in an entertaining way for families.

Though it isn't the entirely original creation "Metropolis" was, Bebop is more satisfying.