Frankenheimer resorts to gunfire and explosions to bring the film to its predictable end. It's when things get mundane that you find yourself wishing that Brando would reappear on the screen to make things interesting again.

After establishing this interesting premise, writer/director James DeMonaco only scratches the surface of its implications before devolving into a creepy roundelay of murders and deaths averted.

This is really Reygadas' show all the way. And what he's delivered is a sad, tawdry picture in which all hope for salvation lies with God.

This children's sci-fi movie should be palatable to the young and old alike, yet it's ultimately more a mild diversion than a magical adventure.

Smashed may be better at preaching to the choir and is likely to find its largest audience among struggling 12-steppers.

It's a loud, obnoxious, and pleasant-enough entertainment, but hardly the soaring tale of one man's struggle that it was so clearly envisioned to be.

If you shy away from that sick feeling in the pit of the stomach that comes when watching good people make bad decisions, then best to steer clear of Manito, a low-budget indie that reaches near-Greek proportions of tragedy brought on by lousy decision-making.

A startling beauty who radiates both intelligence and a teenager-like surliness, Mackey is Hot Milk’s main point of interest and its stable anchor. She makes a meal of the scraps meted out about Sofia’s backstory, her inner thoughts, and motivations – which is what makes the film’s final moments so rankling.

Arguably better than the last five Eddie Murphy films taken together, The Nutty Professor still seems to be playing down to its audience much of the time, though you'd never know it to hear the gales of laughter erupting at the screening I attended.

Glory Road really isn't a bad show – it's just an obvious one – and one wishes material of this historical import had received a more refined rendering.

The elliptical narrative also recalls Fernando Meirelles' somewhat similarly themed "The Constant Gardener," a film ultimately more heartfelt and accessible to mainstream audiences because its maker is unafraid of grief and explores it more deeply.

The screenplay by Erin Cardillo, Dana Fox, and Katie Silberman nails the mechanics of a rom-com, even if it takes Wilson’s delivery to drive the lessons home. Scenes are succinct and the movie comes in at 88 minutes even with a tacked-on song-and-dance video at the end (as a nod to the film’s wildly successful karaoke-bar sequence earlier in the film).

Perhaps the fault lies not in our stars, but in our shameless need for a sappy ending.

This is a film strictly for hardcore sentimentalists, despite its straight-ahead depiction of the harsh urban landscape in contemporary China.

A drab, anemic machine, Spectre, may bring the spectacle, but it lacks a soul. Someone get Idris Elba on the phone.

Suffice to realize that Reeves’ opening salvo is an ambitious and heady mix of the glorious (if overtold) past, the tense present, and the imperfectly perfect realm of Chen’s fighter, his conscience, and blow upon blow upon blow. The concoction works, despite – or maybe because of – its unjaded, fantastical familiarity

Fernandez is excellent as the maladjusted daughter, but the film's heart and soul is embodied in Galina's noble, understated performance.

Screenwriters Nina Fiore and John Herrera have modernized Keene’s decades-old storyline without completely chucking the quaint qualities of the original.

Most important is that there's no caricatured, mustache-twirling villain, or low-grade local bullies, driving the action.

Hotel for Dogs is a decent family film, sure to please animal-loving kids and their parents alike. Well-acted, the movie also looks good and is stocked with lots of goofy gadgetry.

Clunky horror in-jokes, like a heavy-handed Scream nod in the name of Winnie's aunt (Isabelle), feel labored, and it's all plagued by the same unevenness that afflicted director Tyler MacIntyre's Tragedy Girls: The gore and the comedy are well-executed, but the timing is off.

Pass the popcorn, dude; this shit rocks.

Certainly it's not for everyone, but fans of Euro-sleaze will groove on Argento's obvious charms and the film's dystopian thrill ride, while the rest will probably doze off dreaming Fassbinder dreams.

The film is vast and epic, featuring sprawling rivers, awe-inspiring landscapes, serious military campaigns, and the rich political and ideological history of the period. Still, without sufficient context, the films swirls grandly but without making much meaning.

In essence, the artistic failure of She's So Lovely is traceable to a single, supremely ironic fact: For a story by a writer with so much professed faith in the power of truth to bubble up out of apparent chaos, there's hardly anything here that feels recognizably true.

Scooby's just so dang cute, what's the point in grousing?

The seductive scenery in this French film will sink its hooks into any hungering soul, and the window into the winemaking process it offers will stimulate the juices of any armchair oenophile. But the dramatic core of Cédric Klapisch’s Back to Burgundy is pure boilerplate.

Despite the vividness of the movement and the philosophical underpinnings of the cause and its tactical shifts, Suffragette unfolds in a sequentially predictable manner.