When the film sticks to biographical and career background, it is on steady ground, but when it argues the case for one particular album, it becomes promotional rather than documentary material.

Mansome is mostly miss, and pretty thin as well.

Plenty thought-provoking, but it's not much of a movie and ultimately inspires curiosity rather than passion.

It would seem the purpose of this movie, if not to deify, is to define -- and in this it fails miserably.

Little more than a constant and occasionally pretty imaginative sex show.

Yo-ho-ho and a bottle of … V8? That’s what you get when you cross VeggieTales characters with a pirate yarn.

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

It may tell you everything you need to know about Easy Virtue to note that Hollywood hottie Jessica Biel receives top billing over veteran Brit thesps Kristin Scott Thomas and Colin Firth.

One glance at the title shows you just where Brooks's head is these days: in his pants, specifically, in the area immediately below the belt. The one-time master parodist (Blazing Saddles, Young Frankenstein) seems so focused on this universe bounded by the ass on one end, so to speak, and the groin on the other, that he forgets to do anything at all original to spoof Robin Hood or the swashbuckling films Hollywood has made of him.

In Fatima, director Marco Pontecorvo and his team meld religious storytelling with the flourishes of a historical biopic, resulting in something both better and more frustrating than your average faith-based film.

The direction by Caruso adds little to the dynamics, although the script by Dan Gilroy offers the occasional gem. Nevertheless, Two for the Money is hardly a cineplex bargain.

It’s a tedious watch, inferior in every way to David Fincher’s slick, grinningly grim "Gone Girl." Any chance for lightning striking twice is going, going, gone.

Knights of the Zodiac has the potential of being fun, but falls short by taking itself too seriously and looking bad all the while.

It's a strictly date-night-rental affair, and if you still get Ryan Reynolds and Dane Cook confused, this will do little to help sort things out.

Even for me, an animal lover, a believer in the power of storytelling, and an advocate for meatless meals as often as possible, I just kept waiting for a revelation, or a reason (beyond the horror show footage) to care.

Not nearly as clever at taxing the audience's knuckles as its forerunner, Speed 2 still manages to stay above board long enough to merit a look-see, if only to relish the once-in-a-lifetime pleasure of Mr. Dafoe and his pet leeches.

When a cell-phone gag is the most exciting or inventive thing in a big summer dinosaur movie, you have to wonder if the species might not be ready for extinction.

Kidman is the only refreshing thing in the movie. Otherwise, Just Go With It is an exercise in stagnation.

Shelton's enthusiasm is remarkably refreshing, but it's not enough to mean well, and we don't know much more about these people or their world at the end than we learn at the beginning.

The movie scores some laughs, all of which come from the expert Giamatti.

If you’re the type of moviegoer who finds the idea of 19th-century characters using phrases such as "Be cool" and "You must work out" in their conversations, this is the film for you.

Although I do think PP fans will be satisfied with the finale, let’s hope this is the last redux for these pitches.

Amibitiously mediocre.

The borderline campy The Bye Bye Man is a horror movie in search of an urban legend. Based on a chapter in the 2005 collection of allegedly strange-but-true paranormal tales "The President’s Vampire," the premise is second-rate Stephen King.

Collette – usually a delight – sounds like she’s phonetically speaking a foreign language. Not even Judi Dench could sell these lines.

The Oranges has little original shading.

Higher Learning is a disappointment. What might have been director Singleton's (Boyz N the Hood, Poetic Justice) most ambitious and potentially intriguing work, wound up as his most shallow and scattershot.

It's hobbled by odd plot contrivances and some less-than-stellar acting from DiCaprio.