Stewart (per usual) is the best thing about the film.

The obvious thing is to say that Keep the River on Your Right has unfortunately bitten off more than it can chew -- but not more than we can digest.

An efficient, if overly mechanized, delivery system of thrills 'n' chills.

The pleasure of watching two alpha males -– Al Pacino and Colin Farrell -– circling each other mano a mano substantially beefs up this otherwise routine spy thriller.

Bigelow stages the film's action sequences with a brutal efficiency (they almost redeem the movie), but she can't keep the increasingly silly script in check.

Jorgen Persson's camerawork is spectacular, illuminating the cobalt blue of the frozen wastes with an almost regal air. As a travelogue, August's film works wonders; as a narrative, it's just not all there.

Despite the movie’s lack of anything resembling a narrative center, Testosterone isn't an entire waste of film stock – Sutcliffe, Sabato Jr., and especially the great Braga all act up a storm.

Just enough laughs to keep you from feeling blatantly shortchanged.

Like "Bring It On," Stick It is so much better than most of its insipid teen-movie peers yet like her earlier movie, Bendinger's new one is also not all it might be.

It goes down easy, with likable performances and a laudable emphasis on love and compassion.

The Hunger is typically Tony Scott -- more style than substance, and perhaps simply an excuse to get Denueve and Susan Sarandon, Miriam's post-Bowie love, in bed together.

A bittersweet experience. It leaves you asking for more, even knowing that nothing more is forthcoming.

It's a noble effort, but aficionados and the mildly interested are recommended to seek out VH-1's excellent Studio 54 documentary in lieu of this shallow morality play.

Predictable, affable, and completely guileless, the only part of Made in Italy that distinguishes it as having been made now, rather than any other random point in the last 30 years, is how grizzled Neeson's beard has become. The hapless English romantic lead bumbles on.

Chon’s ambitions are astonishing, but his bloated script needed an edit or two. It’s a film written with big moments for big performances in mind, which is too painfully obvious as the film treads on.

There’s some gorgeous animation and impeccable camerawork on display here. But as George Lucas’ 2015 fiasco "Strange Magic" demonstrated, beautifully executed visuals will get you only so far. There’s no emotional core to Abominable, which mostly proceeds at a glacial pace as the travelers’ journey across China.

Despite the film's abundant gory effects, its best technical achievement may be its English subtitles, which move about the screen for better visual and emotional impact, and sometimes dissolve into poofs of blood or other colored effects.

Everybody’s sleepwalking here. Vincent D'Onofrio is fantastic with Vaughn in a small part as his brother, but it's as if he’s running in during a break from "Law & Order: Criminal Intent."

As a period mystery, however, it's as muddy and swirling as the actual record of that fateful, deadly weekend cruise.

Dahl, who really does know what he's doing when it comes to investing a scene with both heebies and jeebies, is a notch or two above most.

Lottery Ticket is ultimately no "Friday," but that 15-year-old film's communal vibe is clearly the model Lottery Ticket is chasing.

Renoir is great at capturing some of the details of daily life within this unique household and conveying an Impressionist atmosphere on film, but as far as telling us a story, the film is a washout.

Rarely has a movie been more urgently needed than Detroit, yet after delivering on its promise for nearly the entire first half, Detroit goes down in flames before it’s over.

Looks like a million bucks (or rather, a million bucks gone to compost), but at its dark heart it's a tedious, bewildering affair, lovely to look at but with all the substance of a dissipating dream.

Provides a panorama without insight.

These digressions aren’t enough to build anything like a real conversation about the Austin-made classic. There needs to be something more.

Fact is, good looks will go a long way in masking mediocrity, and Hollywood Homicide capitalizes on that fact doubly so: Co-writer/director Ron Shelton’s latest boasts two pretty faces, and all across the country, mothers and daughters sigh alike.

Honeymoon in Vegas is what every stupid comedy should be to justify the price of admission, sadly it is no more than that.