Walter Addiego

At its best, Gordon's work is bracing and pointed, though it's not for the queasy.

As a grab bag of reminiscences by veteran funny people, bolstered with richly entertaining performance footage, it's boffo.

Tries too hard to be even-handed.

Mocking Tinseltown is a pretty exhausted subject, and even Jaglom, a genuine insider, has a hard time making it fresh.

Bateman comes off well, humanizing his character with a strain of melancholy that’s one of the movie’s genuinely touching elements. Fey is all right, though she falls back on her patented shtick. Driver makes the most of his hipsterish role, nicely playing off the other siblings’ tension.

An intriguing portrait of an insular community, but its recounting of the seduction of a bright young man by the surrounding culture is heavy-handed.

Filmmaker Doris Yeung tries to mix a whodunit with a story of explosive family dynamics, but the effort succumbs to a weak script and a one-note lead performance.

In the end, there’s some naughty, voyeuristic fun to be had from Studio 54, but the bottom-line story of the club — assuming that is of value — is still to be told.

There's more than a touch of whimsy in A Touch of Spice, a sentimental Greek offering that's been immensely popular in its home country but doesn't translate well.

To be sure, Censored Voices can hardly be seen as anything but a political document, one that shares Oz’s views.

Overall, it's pretty elementary stuff, along the lines of a Disney Channel TV movie. It's uplifting, and it's in a good cause.

So there’s talent on view here, but in service of a questionable proposition, with the whole thing tiptoeing toward the exploitative. It would be nice to see Mascaro try his hand at less volatile material.

You can't help cheering for Selena, but the good feeling is diminished by the sense that her story's been simplified and sanitized.

Though short on subtlety, A Walk on the Moon does offer the consolation of some decent performances.

Besides some fine dogfight sequences, it often feels threadbare, just an exercise in recycling.

Well-intentioned but heavy-handed.

A misfire.

Breaking Upwards has its amusing and touching moments, but we're left wondering just what we're supposed to make of it all. In the end, the relationship at the film's core is less absorbing than the filmmakers imagine.

Modestly better than last year's awful "End of Days," though it falls well short of Arnold's "Terminator" peak period.

Nicholson squeezes every wretched drop of buffoonery from this character, and it's distressing to watch him play an easy role for easy laughs.

This film is mainly for “Night at the Museum” diehards.

The movie isn’t really bad, just tepid, and it’s partly redeemed by a good lead performance.

If nothing else, The Inbetweeners Movie proves that raunchy comedies about horny teens aren't just an American quirk.

Maybe the film works best as nostalgia for Baby Boomers who recall the picture from their childhood.

The film is implicitly advocating a New Age or holistic perspective, with a dollop of Eastern religion added for good measure. (The title is Sanskrit meaning "wheel of life.")

Not up to Ozon's standards.

In the end, all the bitterness seems like window-dressing to disguise a trite story.

It would be wrong to say Close’s performance in The Wife is wasted, but it certainly deserves a better movie.