This feature-length joke isn’t for us so much as it’s on us for holding out hope that sheer weirdness might be enough to sustain this lark through to its violent finish.

Exploitative and crass, the film paints an ugly portrait of youth gone wild and the ineffectuality of the police to curb the menace.

The film's elegiac tone and honest heart come through.

The film is at its best when painting the atmosphere and detail of 1953 Dublin.

I had looked forward to seeing King's low men and their hideous yellow coats and monstrous high-finned automobiles, but what we've got here is less King than Goldman, and less fun to boot.

Stuck somewhere between melodrama and the flat tone of an "issues"-oriented television miniseries.

This movie that wails with the intensity of a revival chorus is something we can all say amen to.

Snatch is nothing if not watchable: It has the insane, popcorn rhythms of a Road Runner cartoon, and for that reason alone it's a minor masterpiece.

It’s Brisseau's penchant for the flamboyantly perverse and the perversely flamboyant, however, that might have been best left secret.

Frustrations abound with this limited film, but Wild Horse, Wild Ride does one thing exceptionally well, and that is convey the emotional bond between trainer and horse.

Ron Howard has delivered a movie that’s a big departure from his previous film, "The Grinch Who Stole Christmas." We may not remember him for "The Alamo," but we're glad he kept the Stetson.

As the songs pile up and the plot putters along, Romance & Cigarettes wears thin, like a moral for the titular addiction: Sure, there’s the sweet dream of that first drag, but a whole pack’ll do a body bad.

Liberal Arts is not unlikable: There are some intelligent observations about how humans woo, and the film is so suffused with sincerity you want to give it a pat on the head just for trying so hard.

The Good Liar is a pleasantly playful thriller hiding a seriously shady history close to its benighted heart.

What is not debatable, however, is that Cruise is an actor of limited emotional resources, one who lacks the presence required for the film’s protagonist, a character intended to inhabit more than one dimension.

Just like it is in the world of "SNL" that Fey, Poehler, and McCullers sprang from, the choice gets made time and again to aim not for the high road but for the great, big, fat, juicy, unchallenging, uncontroversial middle ground, where everybody’s laughing but nothing is all that funny.

Hostel certainly delivers in the gore department, and Roth, who knows and loves his favorite genre at least as well as the gang over at the Alamo Drafthouse, peppers the proceedings with various witty in-jokes.

Terribly slight but not unpleasant, 5 Flights Up is hardly worth the climb.

Showalter’s film never finds the right tone, leaving its audience with pleasantness in favor of sharp wit.

It’s as immersive as it is insufferable. There’s greatness packed in there, but the most lasting impression is how much time is spent trying to convince you of it.

Pride's story was etched in stone ages ago by mysterious movie powers beyond our understanding, and all the Staples Singers' songs in the world won't keep it from its appointed rounds.

Although The D Train doesn’t completely live up to its potential, the film earns lots of points for treading a distinctive path through a conventional setup.

All I know is that guys are strongly advised to avoid this on a first date.

There's a place in life for movies like this – goofy and lowbrow but never truly icky; the good guys are lovable losers and the bad guys have frosted feathered hair and unitards with inflatable codpieces.

Kindred banks on its refined atmosphere and all-too-real story to keep its audience invested, which works to a degree because the film itself is beautifully made, but satisfaction with the ending may vary across horror diehards.

Borte may have lost his way on this film, but there is one thing he has done for America: He has demonstrated the correct way of spelling the plural of the surname Jones. Grammarians, if few others, will be satisfied.

If overly familiar and uninspired, Home is nevertheless agreeable, especially for young viewers who haven’t been down this road countless times.

There are moments in Idlewild that resonate with the painful "if only" of missed opportunity, and more than a few that just make you scratch your head. It's like some wildly overlong music video, minus the sexy thump 'n' grind. It's all blow, no pop.