Ruthe Stein

Much about Living Out Loud is pretty far-fetched, but at least it accurately portrays the dating possibilities for newly divorced women of a certain age.

An unfortunate casting decision, however, comes close to sabotaging a witty script.

The Pillow Book sometimes seems like three different movies, each one an eyeful but together too much of a good thing.

A lumpy concoction.

The film will have to settle for a bogey rather than a par. Still, some hyperbole is warranted, like "Safest Movie to Take the Entire Family To."

Has a certain charm and is sure to appeal to tweens, at least the female variety.

But the jury is still out on Romano's future in movies. Hackman blows him off the screen.

While still trumpeting human ingenuity, the new movie lacks the subtlety, character development and exceptional ensemble acting of the 1965 version.

Lumpy.

Lacks compelling narrative.

To label the parents in Wah-Wah dysfunctional doesn't adequately describe their wildly inappropriate behavior.

This is familiar territory for writer-director Nancy Meyers, Hollywood's queen of the chick flick. Her latest has charming moments and a hopeful message for despondent singles, but it lacks the emotional resonance of Meyers' "Something's Gotta Give" and the zaniness of "What Women Want."

Distressingly predictable and not a tad scary. But as a parody of the genre, it's a scream, like the "Scream'' franchise, only funnier. It's as if all the ingredients for a thriller coagulated into Silly Putty.

Jodie Foster and Terrence Howard are incredibly compelling and hold your attention despite Jordan's deliberately slow pacing.

Unfortunately, Hotel de Love also has all the originality of an all-purpose valentine. First- time filmmaker Craig Rosenberg appears to have seen every relationship movie ever made. To his credit, he borrowed only from the best.

While the documentary does a credible job of pointing out the magnitude of the problem, it skirts the issue of what can be done about it and by whom.

The producers have stated that they're going after an American market that supports Spanish-language TV networks, radio stations and newspapers. This niche audience may well respond to not being required to read subtitles, for once, in a movie geared to them.

A pretty ugly movie in its own right.

An overwrought and ultimately silly thriller.

A noble try that disappoints.

The truly shocking thing about the new version is that it's not bloody awful.

The least appealing of the trilogy.

A potentially great movie winds up buried inside a just OK one.

Superficially entertaining romantic romp.

Doesn't have much to say.

An energetic young cast, consisting of a mix of professional dancers and actors who do convincing imitations of Arthur Murray graduates, is positively inspired in numbers combining traditional ballroom steps with hip-hop.

The movie is one big in-joke. It's watchable, but eventually wears you down with its over-the-top cleverness.

Harris' impressive channeling of Ludwig is diluted by the decision of screenwriters Stephen Rivele and Christopher Wilkinson to put the copyist front and center, possibly to distinguish their feature from "Immortal Beloved."