The action, fantasy and suspense elements are all highly enjoyable, but if the romance didn't work this movie would fall apart.

There is a passionate, combative and riveting documentary to be made about the plight of the American schoolteacher, but unfortunately the well-meaning, unfailingly decent and overly slack American Teacher isn't it.

Mr. Nice is hampered by tonal timidity and the inability to find a sufficiently entertaining through-line in Marks' life story.

Fans of "Train of Life" will undoubtedly embrace the picture's similarly ragtag collection of clever, lovable misfits.

How often can you see Cheech Marin nailed to a cross or Lindsay Lohan in a threesome with Trejo and the actress playing her mother?

No one is expected to take any of this seriously, so Schwentke keeps things light: light on big laughs, light on unique action set pieces and light on any sense that these game but retired spies are too old for this crap.

This doc contributes to the small collection of films on burlesque something more self-aware looks at the matter don't: an exposition of the messy history of a complex popular art that still leaves us with much to explore.

The Music Never Stopped isn't exactly good, but it's definitely better than you fear it is when you reach the halfway mark.

An awkward stew between "American Beauty" and "Harvey" that only touches a nerve at the eleventh hour.

Segal's film tries to straddle the line between darkly funny and just plain dark, but even with a game cast and an offbeat premise, Norman is a disquieting outing with little in the way of honest payoff.

With a sterling cast and an emotionally powerful performance from newcomer Liana Liberato, Trust packs a real dramatic punch.

Europe's Most Wanted is so full of laughs and great characters, it's easily the best in the series. Like "Toy Story 3," the Madagascar gang just gets better with time, and this new adventure is funny, exciting and heartwarming.

Luke Wilson's terrific performance renders an uneasy hybrid of crime drama, comedy and ecommerce far more compelling than it otherwise would be.

This movie will not find an audience. It's got likable stars, a reliable commercial genre and a decent supporting cast, but nobody will turn out to see it, even if it was a labor of love.

This doc is far from perfect, formally it accomplishes nothing new and has opportunities to go places that could have been massive, but these missed opportunities don’t undermine its other accomplishments. It’s imperfect and still does quite a lot.

Frank Ross' newest film, Audrey the Trainwreck, is at once utterly down home and completely philosophical.

Fans of the filmmaker should thrill at the prospect of a new project, but the film's lackadaisical pacing and preoccupation with pulling the rug out from under the audience.

Watching even the most tossed-off gag is worth whatever shortcomings Make Believe has, including its lack of real drama.

A highly entertaining and heartfelt action comedy that ought to steal more laughs than any other film this holiday season.

That Sarah's Key never quite descends into melodrama is a credit to the strength of Scott Thomas' performance, more than to the writing.

Between Eastwood's direction and Dustin Lance Black's screenplay, what you feel leaking off the screen in every scene is missed opportunity.

The doc has won a host of awards at film festivals and it is a policy wonk's dream of a movie, but it is dry, statistic-laden viewing that is unlikely to attract much attention beyond education circles.

A charmingly lo-fi love story.

The Thompsons have a tough task to explain all the machinations in the film's first half but once the scene is set it unravels in an entertaining way, jumping forward a year--but always with flashbacks to that infamous dinner party.

A whipsmart twist on a particular kind of romantic comedy.

Savages is one of Stone's best movies with a ménage et trois love story giving some human dimension to its three young leads.

It's certainly a story worth telling, but hardly as pivotal and all-encompassing as they would like to believe, all of which makes the effort far more exhausting than it ever should have been.

To his credit, director Neil Burger either doesn't realize or doesn't care that the material is hokey to the point of unintentional hilarity-if not for the film's intermittent moments of hyper-stylization and its almost crippling sense of self-importance, Limitless might have been a truly unwatchable bore rather than just annoyingly silly and tedious.