For the first 30 minutes I couldn't shake the feeling that I was watching a really promising pilot for network TV.

It's hardly a classic of the genre, but then again, like Armour hot dogs: it's Comfort Food for Men.

Hush has a solid first half before the cat-and-mouse shenanigans begin to seem repetitive and prolonged. Still, at 82 minutes Hush is a concise and well-executed horror nightmare.

This is Gilliam at his most Gilliam, and that's fine, but there's nothing left to say.

Satire without teeth is sort of a mewling entity that brings little into sharp focus. Nevertheless, the performances here are all stellar, and narrative movies that take the making of art seriously are a rare breed indeed.

Although several great speeches and hilarious one-liners goose the film, God Bless America nevertheless peaks too early and becomes rather one-note.

A moderately entertaining, mostly inoffensive piece of filmmaking.

Like a lot of animated fare, it's overly busy, lacking the comic's gentle, contemplative air.

Writer/director Lucía Puenzo (XXY) has a nice feel for her characters and, especially, the viewpoint of adolescent Lilith. But by giving away the story’s big reveal at the very beginning, it infuses the film with a potent sense of dread rather than suspense.

Morris has found a real character in McKinney, but to what end, I couldn't say.

There are some wonderful performances and lovely unadorned moments in The Flower of Evil when the movie is not drowning its viewers in its doomed fragrance.

Its most remarkable featis sustaining the level of forebodeingly atmospheric suspense.

For a heavy-duty subject, Call Jane is anything but, moving along almost like a lighthearted Lifetime movie.

Yes, the canon invoked for this film is that of the Three Stooges, but it’s still not as magnificently berserk as they can be. Set your expectations carefully for this one.

We have pretty much all the information we need within the first half-hour, which undercuts the supposedly climactic reveal of the contents of Maruge's letter and renders the torturous flashbacks unnecessary for narrative purposes. And not a little bit sadomasochistic, too – an ill fit for a PG-13 family film.

For all its emotional and familial kerfuffles, People Like Us is an honorable misfire – good intentions and all.

Despite its inadequacies, Basquiat presents a fascinating glimpse of the Eighties art scene, due in large measure to several stunning performances.

A humble comic fable, puttering along with a sunny grin, a goofy sentimentality, and not much else.

So what's not to love? For starters, there's the inescapable fact that Ted is, no matter how you stuff it, yet another man-child buddy movie – and all that that implies.

Magic Trip comes off nearly as scattershot as the events it depicts, which is a major stumbling block.

Stardust has lost a good amount of its magic in the transformation from page to screen. It's the cinematic equivalent of getting a punch in the mind's eye by a bunch of faeries wearing the coolest Doc Martens this side of Florin.

Aided by a strong soundtrack by Corbijn's friend Herbert Grönemeyer, The American nevertheless seems more like a concept in search of a movie.

Some fine comedy performances bolster this thinly plotted film.

Lost's Evangeline Lilly remains lost, however, in this film role as Charlies's too-good-to-be-true romantic interest.

In his three-acts-and-an-epilogue structure, Guadagnino inserts more story than Burroughs intended, and Queer becomes aimless.

Die-hard Downton fans aren’t going to grumble at the chance to spend more time with well-loved characters, and there are plenty of bright spots along the way.

Sugar is a curiosity – too somber for a picaresque, too arm's-length for much emotional effect – and while it's interesting, it's never truly absorbing.

Granted, femme-centered film comedies are a thing to cherish, but The Other Woman only gets it half right.