Bottom line: Jonah is strictly for kids suffering from rescinded television privileges or adults seeking a nap in a cool, dark environment that reeks of stale popcorn.

The terrific ensemble acting and Troche’s genuine, nonjudgmental interest in exploring the weird places wounded people go, both internally and externally, amount to an insulated but moving portrait of the real nuclear family.

If you’re the type of moviegoer who finds the idea of 19th-century characters using phrases such as "Be cool" and "You must work out" in their conversations, this is the film for you.

Miike's film is a cunning little comedy of manners gone mad. Even when you feel you have to turn away from the screen or lose your lunch, Miike has something interesting to say. I'm not entirely sure what it is but his lips are moving and something horrific is definitely coming out.

It would seem the purpose of this movie, if not to deify, is to define -- and in this it fails miserably.

Less extraordinary and considerably more banal, given the sci-fi/comedy subject matter, is Men in Black 3's story, which jumps the ectomorphic shark in high style but with a deficit of actual belly laughs.

Tim Burton is all grown up and getting serious with this wildly scattershot tale.

Plotnick is an appealing actor. He has the same sweetly knit brow and watery blue eyes as Breaking Bad’s Aaron Paul, but his character here is as flat as a pancake. Moreover, if you’ve seen the trailer for Wrong, you’ve seen the movie.

Gordon-Levitt, however, nails the part completely, physically hunching down into himself and getting Snowden’s halting, thoughtful speech patterns just right, while Stone, working with screenwriter Kieran Fitzgerald, creates a whirlwind ride nearly but not quite worthy of The Parallax View-era conspiracy thrillers.

Lawless never fully comes together as a whole but it is quite intriguing in spots.

Ultimately, Look & See seems to have many objectives, yet accomplishes none of them satisfactorily.

Love's real heartbeat is the sheer likability of its attractive young cast and the earnest naïveté with which they reach (through obsessive movie fandom, endless conversation, and polymorphic romantic pairings) for insights just beyond their grasp.

Brothers is too depthless to dredge up any tears.

Hanks is perfect in the central role, drawing on both his dramatic and comic acting skills.

The reveal is a bit predictable, but a couple of fake-outs keep things interesting along the way.

These characters are too remote, too pretty, and too unrealistic to move us in any lasting way.

Apted manages to say a lot by cutting between the squalor of life on the reservation to the magnificence of the land around it. Unfortunately, when the characters speak for themselves, they are often forced to deliver lines that are unspeakable. There is an element of misty romanticism about Native Americans that Apted just doesn't manage to pull off. His yarn, however, is a good one even if it could be told a little better.

A film about Geronimo and about the great feared Chiricahua Apaches would offend, should offend our sensibilities. We should be forced to confront and understand a different way of thinking. This is a more civilized movie, a more noble movie, a remarkably and consistently boring movie.

Eden shows humanity at its worst, but without reflecting much on the why of it all – a Lord of the Flies analogue that concludes not with a gut punch but a tidy historical coda.

You don't have to be Jewish to enjoy this light romantic comedy, but it helps.

The Guy Movie to end all Guy Movies, a ridiculously overblown summer testosterone blowout right down to the Wagnerian strains of the soundtrack and its stunningly high body count. It's also a hell of a lot of fun.

Jumanji: The Next Level feels like a "BioShock 2" when we were hoping for "BioShock Infinite."

A shot-for-shot remake would have had more school spirit than this.

Only a quite over-the-top character played by Raquel Welch strikes any false note. Otherwise, Tortilla Soup is a real chef's special.

Although the story and imagery are absorbing to watch, the details of the plot are sometimes hard to follow and fully digest. But enough of it survives to make this extravagant production a delightful experience for Westerners to watch.

A sumptuous ride with breathtaking scenes and a soaring musical score.

First Snow tries hard but lacks originality.

Somebody is nihilistic, misanthropic, and weirdly relaxing. I've never seen anything like it.