Morning Glory had the capacity to be a smarter, tarter picture, though it's not bad as is: well-acted and ingratiating, with at least one howlingly funny sequence.

It's a bit unnerving to realize that an entire life can be summed up so well in 20 minutes and that four generations can be fit into a mere 96 minutes without feeling cramped, but that's what's so beautiful about stories like this, too.

Green wisely gives his actors lots of room to work, all the while putting the emphasis on the characters and their relationships instead of the blurry hokum of the narrative threads.

Iranian-American director Keshavarz utilizes the always reliable Sarandon to fine effect, but the final takeaway is less than riveting.

Thanks to Haggis and the cast, who are convincing, often bitingly so, in their willingness to dive into the dark and unknowable depths of the modern American romantic relationship, The Last Kiss mirrors reality with remarkable faithfulness.

Is it just me or is Mick Jagger turning into John Hurt?

A charmingly mounted, period romantic drama that benefits from the performances of a fine ensemble cast and the lovely location settings of Florence and Tuscany.

Insert Coin doesn’t tell gamers anything they didn’t already know, and non-gamers won’t care – so unless you're a hardcore fan, maybe just save your quarters.

Writer/director Emmanuel Finkiel tries very hard to adapt Duras’ modernist storytelling tactics to Memoir of War and, at times, even succeeds in translating the author’s opaque blurring of the objective and the subjective.

The film's glorification of the America's Cup as an exclusive prize in The Wealthy WASP World of Sports can be a tad bit alienating. Nevertheless, Wind manages, for the most part, to be harmless entertainment -- a sort of elitist cotton candy floating in the sea breeze.

Wrath of Man may soon occupy the same rarified air as Joe Carnahan’s The Grey, another film anchored by an aging action star that promised revenge and delivered something more.

With its offbeat-dramedy-meets-sci-fi concept, Jules feels pulled right out of the world of indie cinema from 10 years ago. It’s in communion with the likes of Safety Not Guaranteed or Seeking A Friend for the End of the World: movies that revel in a superficial attempt at charm that’s undermined by a shallow understanding of their own characters, instead choosing to live and die by a determined sense of quirk wrapped up within their supposedly refreshing sense of genre-bending.

Last Chance Harvey is so much an "actors' film" that the hand of the director seems hidden until it bursts into view with something clunky.

Boasting a terrific cast, the movie is unable to parlay its abundance of comic talent into an abundance of original comedy.

Haunting and extremely atmospheric, Mama is a horror film imbued with an unsettling and affecting power.

This chase film combines elements of the thriller and newspaper procedural to create a contemporary saga about political idealism, stone-cold realities, and the repercussions of past deeds on future innocents.

On the plus side, Costanzo is an appealing and likable young actor who carries the film easily; he gives the impression that he is thinking deeply and mildly amused.

Frankly, Mr. Shankly, I've seen Morrissey videos that are more life-changing than this well-intentioned but ultimately yawn-inducing barrage of factoids.

While never screaming its message, the script by first-time feature directors Britt Poulton and Dan Madison Savage still finds a way to damn the sin more than the sinner.

Ultimately, Dark Blue feels roughly a decade too late with its back story of the Los Angeles riots. Gates’ department had its share of dirty blues, to be sure, but that hasn’t been notable since the smoke cleared back in 1992.

Henderson's warm and toasty little gem of a film, slight though it may be, reminds you that the Greatest Generation, full of vim, vigor, and – most important – an indefatigable sense of purpose, grew up on both sides of the Big Pond.

It would be easy to pigeonhole this as "Norma Rae" en L.A., and Padilla is at least as ingratiating and as much of a guy magnet as Sally Field was in that movie.

Maybe he was a sucker, but it was his belief in the fundamental decency of American institutions that made his struggle for redemption so winning, much more so than the movie that was made to honor it.

This first dramatic feature by documentarian Evans is an important film but not necessarily a successful one.

Meyers has a good feel for contemporary comedy; it’s reality, however, that slips through her grasp.

Even when plausibility fails, I Origins is elegantly cosseted by its dreamy camerawork (courtesy of Markus Förderer) and pretty people.

The gifted veterans, Redgrave and Stamp, manage to imbue their characters with personalities and physical bearings that transcend the stereotypical. But there’s little else that separates a film like this from the sing-your-heart-out self-actualizations of a teen show like "Glee."

Hallström's latest is fine but unambitious, content with what it is – an arthouse trifle for the masses.