Walter Addiego

That's the real problem with this melodrama. Whether or not you agree with the pacifist message, the presentation is often overwrought and maudlin.

Costner’s performance is mostly monotone, but Harrelson has some nice moments portraying Gault as surprisingly reflective.

It’s a great story, but the movie has a flatness that can’t be denied. Who’d have expected a Herzog film to invoke thoughts of “Masterpiece Theater” and Merchant-Ivory productions at their most stiff and formal? I surely did not.

The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.

Good chemistry between the lead actors and nice supporting performances help Friends With Kids survive a formulaic story and just-OK filmmaking.

The idea is intriguing - an inflatable sex doll comes alive and experiences the world with wide-eyed innocence - but Hirokazu Kore-eda's "Air Doll" is only partly successful. The film's poignant depiction of human loneliness is undercut by saccharine notes and a drifting tone.

These pictures need a light touch and a lot of attitude, but this time you can hear heavy breathing in the background.

Hawke has created a standard-issue, Sundance-friendly indie film that's full of the predictable angst suffered by Manhattan artistic types, but unfortunately the lead characters are both so callow that you finally don't care much about them.

The Eye of the Storm is performed with zest by a fine cast and offers some nicely biting moments but, in the end, falls short of its large ambitions.

There are some compelling performance moments, and it's sad to watch these talented and basically nice people drift apart. But overall the film seems like a collection of bits and pieces, and it's hard to see how it could have much resonance for non-fans.

Congratulations to director Mick Jackson and writers Jerome Armstrong and Billy Ray for liberating themselves from the tedious demands of believability.

It's an apocalyptic ghost story with some eerie images and a surprising turn toward the end, but it bogs down considerably between the good scenes.

Campbell's admirers will probably enjoy the documentary, but I don't think it will do much for anyone else.

It doesn’t really add up, either as a psychological portrait or moral commentary.

Nostalgia for the groves of academe weighs heavily on Liberal Arts, which both exploits and undermines romanticized memories of campus life.

Some scenes are mild fun, but the mishaps that befall our hero aren't especially inventive, and although the South African setting provides a bit of interest, it's never really used incisively.

Never gets the mixture right, lurching between bullet-happy shootouts and overwrought domestic content.

A big, juicy bone for canine-focused humans, but much less of a treat for others.

Because he made "Eternal Sunshine of the Spotless Mind" (2004), there will always be high expectations for a new film by Michel Gondry. But while his new movie The We and the I, is intriguing in fits and starts, it isn't in the same league.

Linklater has less success telling a story; time passes amiably, but the film has no center.

There are “gotcha” jolts that definitely got me, but for each of those, there must be a half-dozen scares telegraphed in very large letters. I think Annabelle: Creation is suffering from sequelitis.

It serves up a broad humanistic lesson with absurdism and black comedy more sad than barbed.

Well made, but it's a talkfest that wears its stage origins on its sleeve.

Has an impressive cast and captures some of that era's fuzzy rebelliousness and humanism, but taken on its own the picture is finally thin stuff.

By showing so many examples of his art, the film attests to Giger’s real gift for startling images. But it’s hard not to see, in addition, elements of repetitive adolescent provocation.

You may experience Visitors as more of a sedative than a punch in the guts.

Not sure we need to know this much about his family life.

His personal efforts are praiseworthy, but if glacial melting is in fact the "canary in the climate coal mine" (his words), the movie might have given us a bit less of Balog and a bit more of the startling sequences he produced.