Provocative and prodding, but apart from its queen bee Ellen (the marvelous Rampling), the characters are representational types instead of fleshed-out human beings.

If you shut down your brain and simply take in the wardrobe and performances by Streep and Blunt you'll have a swell time, like aimlessly flipping the pages of a fashion magazine.

Yes, this Superman soars, but he doesn't always take us with him.

Fans of the show will rejoice and a few newbies will become converts. In this heightened reality, there are no rules except to get the laugh. And they do, incessantly.

You’ll leave the film wondering why you've never seen a TV ad for an electric car, or why GM is all about selling Hummers these days.

For a film about looking for a sign, looking for solace, Room quite brazenly offers neither. It isn't an easy film, but the world's already got plenty of easy and easily digestible films.

As a filmmaker, Clark still seems more beholden to his roots as a still photographer: Images are sometimes worth a thousand words, but, ultimately, they will always be skin-deep.

Sandler is a post-Catskills goldmine of potential, he always has been, and when he's willing to break with tradition (a là Punch Drunk Love), he's downright revelatory. Not this time, though. This time he's just dying.

The lengths to which a parent will go to save a child can be gut-wrenching stuff, but Waist Deep rarely hits you in the pit of your stomach. Blame it on the lame screenplay, which unwisely (and badly) gravitates more toward the crime-spree elements of "Bonnie and Clyde" than the fierce parental instincts of, say, "Kramer vs. Kramer" or "Lorenzo's Oil."

A moving tribute to this legendary artist's life and career.

Racing junkies would be better off browsing the myriad of online drifting videos where the camera doesn't cut and the people don't speak.

A Tail of Two Kitties couldn't care less about its human principals, and all it wants its animals to do is air-guitar to "Cat Scratch Fever" and wear silly sunglasses.

Don't try to figure out a time-travel movie, it will make your head hurt. And if the movie stars Keanu Reeves, all the more reason to just stop, slowly put common sense on the ground, and back away from your capacity for rational thought.

Infinitely more entertaining than anything the WWE has done recently, this sophomore outing from "Napoleon Dynamite" director Hess is full of cheesy goodness, but it's Velveeta.

Alice Braga owns this film.

There's just not enough real heart to go along with the cutesiness.

The fact that Wordplay works as a film at all is a testament to its skill. The New York Times may never find a better marketing tool.

Never really quite great, it's still a good enough diversion for the family and should please adult fans of racing.

At the age of 81, Altman may show signs of mellowing, but he again emerges as a master filmmaker.

The movie doesn't quite add up beyond its performances.

It's a good bet for youth audiences (the PG-13 rating is for one instance of language) and finds plenty of thought-provoking subject matter courtside.

Utterly pointless remake.

Everybody’s sleepwalking here. Vincent D'Onofrio is fantastic with Vaughn in a small part as his brother, but it's as if he’s running in during a break from "Law & Order: Criminal Intent."

This French import is a worthy entrant into the adrenalized cadre of action films like "Run Lola Run" and "Ong-Bak: The Thai Warrior" (which Besson produced). What District B13 lacks in story development it compensates for with stunningly realistic action.

A powerfully unique film.

It's all so goddamn realistic and reminiscent of real-life love (and how often does that happen onscreen?) that The Puffy Chair would be hell to watch if it weren't so funny.

Above all, there's Nolte, who hovers over the whole production like some sapient force of nature.

There's much to enjoy here – Ratner's pacing is fluid and fast and the film rushes along its busy, cluttered way with something approaching melodramatic snarkiness – but it's also terribly busy and cluttered.