Feels more like Barry Levinson's "Tin Men" on Prozac.

It works only sporadically, and more as a comic outing than as a vicious battle of sexual predation.

The movie gets goofy from time to time -- as when payola arrives in a vintage "Clash of the Titans lunchbox -- but the filmmakers and cast have the style and the swagger to back it up.

Sex, drugs, and rock & roll is a classic formula for disaffected youth, but Danny Perez’s debut feature spins the cliche like some sort of infinitely outrageous horror-show centrifuge.

What sets apart this eighth outing is its giggling bouts of male henpecking, all puffed feathers and nyah-nyah taunts.

A smart albeit uneven jab at everything from the clubbing life to the male inclination toward Peter Pan.

As suspicion shifts from passenger to passenger, the film starts to resemble a parlor-room whodunit, while logic becomes its first fatality. Fasten your seat belts before takeoff, because Non-Stop is a bumpy ride.

Any sincere investigation of the situation's ethical dilemmas is hampered by a plot run amok with transparently nefarious evildoers and ever-more ludicrous complications, until it sputters to a conclusion and a thoroughly preposterous epilogue in which all animosities are neatly put to rest. Somebody call a doctor.

A wholly original creation, crossed with shadows and light and the everyday madness of Savannah and its remarkable citizens.

League of Super-Pets is a lighthearted, generically animated, fun time out for the kids.

Animated films have trended toward a perceptive intelligence in the past few years, but Storks wades in shallow waters most of the time.

We all know how it ends, and that foreknowledge dooms Singer's hotly anticipated and much troubled account of the attempt on Adolf Hitler's life.

The fact that Troy Nixey's debut feature is one creepyass frightmare is what matters, and boy, does he put the nail in that metaphorical coffin the first time out. It's not perfect, but it's awfully close.

Perhaps time will be kind to Drive-Away Dolls; the cast of rising stars seems destined for greatness, and the setting will sharpen into focus the farther we move away from the decade. But it’s hard not to feel that Drive-Away Dolls is the sum of its production history: a decades-old concept that missed its window for relevance.

Never breaks out of its dullsville rut.

Because screenwriter-director Brock fails to create a moving relationship between its mentor and student in life's lessons, the film hardly resonates five minutes after it's over.

An adaptation of Kody Keplinger’s YA novel, The DUFF is exponentially dumb.

It’s a film you can easily fall into and out of, a breezy walk through the park. French Exit is simply an enchanting day at the movies.

Garçon Stupide is interesting enough to merit an audience broader than its intended niche, though it isn't perfect.

Yaar has enough heart to redeem its cruder moments, and it turns out to be quite a little charmer.

Sylvia also makes it seem as though, even at her happiest, she never received much pleasure from life. This makes for a long, slow procession to the oven door -– so dark, somber, and lifeless is this well-intentioned biography.

Colorful and a passable drama, one that highlights the difficulties of cross-cultural love affairs and the exoticism of the Third World.

It's a pleasant enough ride, certainly, but in the end it also has all the wicked emotional punch of Bill Cosby on Quaaludes.

While it can’t hold a candle to Wilder’s film, the updated Sabrina has its moments.

Goofy summer fun that makes Earth vs. the Flying Saucers look like Citizen Kane.

This skillfully creepy film tells the story of some housemates who experience unwelcome visits from a partially decomposed former resident who rises from beneath the floorboards. Seems he wants the flesh and blood of the new residents in order to settle some old scores.

All those elements are a blast, but distract from where Ne Zha is most fun and most endearing, with the demon-child's loyal parents trying to work out how to keep him from darkness and eventual electrocution, leading to some sweet child-friendly message about fate and friendship. Plus Taiyi and his flying pig are just plain adorable.

In three segments Satanic Hispanics has zipped between high Gothic, hijinks, and activist metaphor. They're all entertaining, but every time the action cuts back to the diffident Traveler – who keeps threatening dire consequences if he's not immediately released – you'll wonder why he doesn't tell pithier, more connected stories.