If there were anything approaching narrative coherence, the film might have rested on Law’s performance alone. As it stands, Dom Hemingway the character is eclipsed by the inability of Dom Hemingway the movie to decide what it wants to be.

Technically, Jihad's images and assemblage seem on par for a first-time filmmaker, though the film's message is a moving plaint.

Beatty and Bening are pleasurable to watch, but their onscreen rapport seems to lack just a bit of the fire they had in Bugsy.

This successful characterization is definitely a team effort among actor Jared Leto (the brooding Jordan Catalano of television's "My So-Called Life"), writers James and Eugene Corr, cinematographer Peter Gilbert, and musical director Mason Daring.

Even though I’m So Excited! doesn’t soar, the film is a fun flight. Maybe it needs a central character in whom the audience can invest themselves instead of flitting among a rogues’ gallery of kooky archetypes.

It’s a pleasure to watch, if not always to sit through.

Pretty to look at, tamely racy, and fairly fluffy, despite its two-hour running time.

The real shame in the storytelling is that the people in this film are interesting and inspiring enough to warrant a real film about them.

The movie's bright touches belong primarily to Brooke Smith.

Seeing The Terminal is like experiencing an uneventful flight: The trip was pleasant but not delightful, and you’re happy to deplane at the other end.

Never mind the fact that romantic comedies about gay African-American and Latino men aren't exactly plentiful, let alone ones this good-natured.

Spark, however, is the best of the lot when it comes to attempting to grok the burn and the burners.

Little more than a well-written and nicely delivered feature-length sitcom.

On the whole, Extraterrestrial is slight, filled with lots of bark but little bite.

Snyder has cast Man of Steel with dramatic actors, not action stars, and it pays off.

While its heart is always in the right place, the humor – especially in the sludgy first act – is hit or miss.

Either you cotton to Zemeckis’ motion-capture aesthetic or you don’t: To me, it seems like an awful lot of effort for an insignificant payoff. But it appears that the filmmaker is stuck on the technique – at least until holographic movie technology comes along.

Chilling and unsettling, intimate yet monstrously vast in its cosmic horrors, Offseason is as dangerously welcoming as the island itself.

A bust-a-gut film experience that reveals Rodriguez as both a stylist versed in the mechanics of popular storytelling and a maverick whose ingenuity guides him along a singular path.

Good performances elevate the material.

Caught with a mixture of cool reserve and neck-snapping energy by director Kim Jee-woon's longtime cinematographer Lee Mo-gae (I Saw the Devil, Ilang: The Wolf Brigade), Hunt is an ugly morality play, briskly told and given chilling, crackling energy by Lee and Jung.

While Yes defies film's conventions in many, many ways, it's still that same old story, the fight for love and glory.

For all of Elordi’s mutton-chopped brooding and Robbie’s vamping, there’s something shallow and glib about “Wuthering Heights.” Yet again, the psychosexual classic tragedy has been turned into a well-crafted mass-market potboiler.

The disappointment in The Ministry of Ungentlemanly Warfare lies in how much potential it had to be something more.

The five days of togetherness are filled with challenges and enjoyment, and if the cast is willing, I’m sure other Meyers family reunions will follow, although none is likely to be as sweet as this sugar plum.

In fictionalizing the story of Austen, the filmmakers didn’t go far enough. Becoming Jane attempts to please the purists and the dreamers, but only results in disappointing both.

At its best when it goes down to the pub and captures, quite flawlessly, the grotty intoxication of these mad, bad, dangerous-to-know Hammers fans hoisting incalculable pints.

Elliot’s coming-out story is mostly shunted into the film’s latter half, and when it does emerge it is woefully conventional and diluted by other goings-on.