Lola Versus arrives with a pedigree that suggests it should be better than it sounds. It isn't.

At barely 80 minutes, the film seems like a slight little adventure, but Fleischer fleshes out his twists and turns to make it feel like a fully-rendered story.

Silent House is undeniably built on its "one-shot, real-time" gimmick. And while it works reasonably well - especially in the first half of the film - it's still just a gimmick trying to gussy up a common horror flick.

The new film could have benefited from even a moment of genuine reflection. Being a mechanic seems like a thinking man's occupation. The Mechanic, though, barely has a thought in its head.

The strong central hour - full of beautifully assembled linking montages and a refreshingly offbeat sense of dramatic timing that could pass for comedy - makes up for a lot, marking Najbrt as a filmmaker to watch.

Director Guy Ritchie is like a Heismann-winning football player cast in a ballet stage-perfectly talented, but wrong for the circumstance.

The movie is a bit of a departure for the mumblecore pioneer, one that does not play to his strengths.

The film is really a valentine to the fans.

Auds will be wise to the contrived metaphors and realize there's not much going on below the surface except stock discourse.

Red Hook Summer begins as a gentle character comedy and then erupts into a sudden reversal that is possibly the most powerful and disturbing sequence Lee has ever created. It's a film that makes you laugh, weep, rage and gasp, and, love it or hate it, you will definitely talk about it afterward.

Lockout isn't high art, but it's ridiculous fun.

I'm Still Here does leave us with one big question mark: What will Phoenix do next? How will he top such a flamboyant caper?

The dismal reality is that this romantic drama is a disaster, a dour "When Harry Meets Sally" that tries to jerk tears out of the story of a man and a woman who go from friends to lovers.

Pierce delivers everything the role requires except serious menace, while the less-seasoned Crawford improves as his handsome face bares more of the evening's scars.

Columbus knows his way around this kind of material even if some of the special effects look like they came from Deep Discount. The gods are well-rendered, but nothing special. Still for the Potter crowd, Percy provides a nice diversion until the real thing comes along.

The resulting distillation is brisk, light and engaging with none of the cheap shots that usually accompany any discussion of ventriloquism. If anything, Goffman is too gentle, refusing to pursue his charges into their darker corners.

Dancing lacks probing interviews to highlight the tremendous cultural change, but Sy remains an engaging focus point and there are numerous performance sequences that ably demonstrate his growing accomplishments.

An odd little film that aims only to please itself.

Bad Teacher is a worthy successor to the benchmark black comedy "Bad Santa" (without being at all the same).

This rags-to-sequins tale may be schmaltzy in its sincerity, but 'tis the season. Glitter is optional, but certainly encouraged.

If "Harold and Maude" hadn't already gotten there 40 years ago, this quirky but engaging trifle might seem refreshingly original.

Lovers of deliberate kitsch should seek it out and make it a part of all celebrations of bad taste. Lovers of “The Godfather” films and new age mafia types like the “Sopranos” have always been into bad taste and so won’t get this.

Ferrera proves herself to be just as talented in dramatic roles.

The real star of the film, however, is Shapiro who, despite treading on marginally derivative subject matter, demonstrates a solid sense of style and a refreshingly delicate hand with actors.

No surprises or major laughs here, but as far as Sandler family fare goes, it's inoffensive enough.

Blending a perfect brew of classic '80s songs, big laughs and rockin' performances, director Adam Shankman manages to make this film adaptation of the hit Broadway jukebox musical a red hot summer blast for people who grew up with glam metal - or just can't escape it on the radio.

It's a magical film in the vein of E.T. where an otherworldly event changes a family forever.

This revved-up movie version offers a perfect mix of non-stop thrills and clever dialogue, mixed with an engagingly light touch. Nobody is taking anything too seriously here, and that's the fun of it.