Old Goats is a nice little slice of life, even if it’s a (partly) fictional one.

His (Borte) film would have been much better had it stuck to its guns as social commentary and not lapsed into a predictable, and predictably lame, love story.

It's not often anymore that you find a film everyone in the family can enjoy, but The Adam Project is that and more. Think "Guardians of the Galaxy" vibes, but a little more low-key.

For all its energy, razzle-dazzle and whiz-bang technology, it doesn't know how to tell a simple story or cobble together three-dimensional characters, and that's a problem not even the best of 3-D glasses can fix.

Massaging the facts to pump up the drama is a necessary evil in a film like this, but The 33’s cinematic beats are so familiar that they undercut the sense of realism that would make it more compelling.

The acting is really good, particularly Leonardo DiCaprio as Gatsby. But boy, with a running time of nearly 21/2 hours and a near-constant bombardment of visual overstimulation, it’s exhausting.

I admire what Gyllenhaal attempts in The Bride! I was less satisfied with the execution.

One of the joys of a good Brian De Palma film is his willingness to go over the top. In a film that isn’t so good, that excess becomes a lot less enjoyable. And Passion isn’t so good.

Representing the 78-year-old writer and director at his perfunctory worst, Magic in the Moonlight is an unfunny, unromantic comedy.

Mira Nair has crafted a handsome but clubfooted film that lurches through predictable hot spots. It most disappoints as a thriller, the flashbacks and voiceovers and romantic entanglements so dominating the proceedings you forget that someone is bound and gagged in real time.

As cultural criticism, this commentary on life in the age of TMZ and the "Real Housewives" is hardly insightful, but it is executed to dizzying, Fellini-esque perfection, a miniature masterpiece amidst more modest amusements.

The problem with V/H/S, a compilation of sometimes scary horror shorts loosely bound by an overarching plot, is that, no matter how savage, evil or sadistic the killer, the victims almost always come off as bigger jerks.

The Secret Life of Walter Mitty just doesn’t work.

This is an incredibly creative film, but, unlike other Gondry films such as "Eternal Sunshine of the Spotless Mind" and the documentary "Is the Man Who Is Tall Happy?" it doesn't add up to much.

Part of the problem is that, in trying to convey the chaos of abject fear, Espinosa makes it hard to figure out the architecture of the ship, so we don’t know where anyone’s running.

There’s nothing in Thor: The Dark World that wasn’t done better in “Thor,” or a lot better in “The Avengers.” Except Tom Hiddleston’s performance as Loki.

Kosinski never manages full control of the film’s tone, which is essential in a story like this.

If you’re looking for a brisk, compelling story, maybe not. It’s as if there is a third version of this film, something in between the two in terms of tone and fan service, that would be the best way to tell this story. That’s unlikely to happen, of course. How many “Justice League” movies do we really need, anyway?

Joe Bell is a well-meaning film with a gripping story it can’t quite figure out how to tell.

Cobham-Hervey's breathtaking performance elevates the whole endeavor, capturing the heart of what made Reddy so deserving of the winning tribute Moon has given her with I Am Woman. It's in Cobham-Hervey's understatement that we truly hear this woman roar.

Jersey Boys is a good movie, and the performances are first-rate. But Eastwood should have roughed things up a little more.

The film itself begins to feel like Gray, a pretty bird in a gilded cage with nowhere to fly.

This is a talented cast working for a talented director in a film that never reaches the heights it should have.

Sparkle is pure melodrama, but it's a high-powered, well-acted, entertaining melodrama. You may not always believe it, but you won't be bored.

Helped by good performances from Edgar Ramirez as Duran, Usher Raymond as Leonard and Robert De Niro as Duran’s trainer, Ray Arcel, the film chugs along well enough, but never rises close to boxing films like “Raging Bull” (few films do) or “Creed.”

Goodbye Christopher Robin is an emotionally layered story about failures in parenting that gave rise to one of our most enduring joys.

Nicolai Fuglsig’s film does a nice job of capturing the fish-out-of-water nature of the American combatants. Chris Hemsworth is suitably heroic and Michael Shannon suitably intense. But if this movie was the only context you had for the U.S. response to the 9/11 attacks, you’d walk out of the theater thinking that we won a quick war without suffering any casualties, that American gusto and bravery saved the day.

There are quite a few genuine laughs along the way. Director Ken Marino has a firm hand with big, silly slapstick, but he also knows how to make the most of dialogue.