Neeson’s austere, meticulous turn is the best reason to see After.Life. He’s cinema’s most soft-spoken, high-toned boogeyman since Anthony Hopkins opened his first can of fava beans.

Poor word of mouth should doom it for a quick ride to DVD oblivion.

Letters to God is far too simplistic and pandering to find success outside of the targeted church-going family moviegoers it’s hoping to reach.

It is a crackerjack thriller and a sensational calling card for the brothers Edgerton.

For the most part, though, Who Do You Love does a marvelous job of recreating the times and the music and, most of all, of bringing to life this behind-the-scenes giant of the music business.

A powerful and provocative look at the seismology of the Iranian social order and the connective tissue that sustains Iranian women in particular.

A pathetic thriller and lame social satire that suffers from abysmal writing, poor pacing and terrible acting, even from the normally reliable Sean Bean.

See What I’m Saying is at once heartbreaking and irritating, enlightening and boring, but frankly not aesthetically well made in any particular way.

The way the film handles relationships has a similarly light but lived in air to it as well.

Don McKay just never seems to be able to blend its noir elements into a story that makes us care one way or the other.

Writer/director Tim Blake Nelson manages a finely tuned balance that is rare in cinema. Moving from the far reaches of comedy to the nether regions of drama, he never skips a beat or sets the pitch too high.

Easygoing effort at times feels over-baked and too full of Perry’s now-trademarked melodramatics, but nevertheless should hit squarely at the target audience of the older African-American women that can’t seem to get enough of what this director dishes out.

Though less splashy than "Red Cliff," or for that matter "Hero," or even "Crouching Tiger, Hidden Dragon," the picture nonetheless embraces a classic melodramatic approach to an otherwise familiar Ching Dynasty tale, delivering one of the most bracing Asian period films in many years.

Full of high flying action, nifty monsters, valiant heroes, plotting villains and impressive CGI.

Yet another movie marketed with the line “From the author of The Notebook,” The Last Song is distinguished from other Nicholas Sparks adaptations because it’s the first screenplay the best-selling novelist has written himself.

The filmmakers do bang-up job expanding the frontline perspectives, aiming to subvert a ruling regime’s course and expose its cloudy human rights record.

Breillat directs with her characteristic flair for getting under the skin of her protagonists while taking a particular pleasure examining sisterly bonds and feminist concerns within the context of a fairy tale.

One of Hot Tub Time Machine’s only genuinely nifty moves is getting John Cusack, Dobler himself, to topline the film.

Fails to completely satisfy, thanks to problems with the script that neither director nor stars can overcome.

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.

A charming oddity, a character-driven drama with just enough fringe genre elements to both enhance and distract, though ultimately hewing closer to the former to make the latter only a minor annoyance.

An exciting, fun and sensationally entertaining movie for everyone.

On one side Lbs. deals with a subject not often handled dramatically and this alone gives it an urgency and a credibility.

Don Hahn’s documentary is an animator’s attempt to invigorate what is otherwise a dry story.

If "Midnight Run" and "His Girl Friday" had an unwanted, mutant baby, it would be The Bounty Hunter, a romantic comedy where the jokes sputter and die immediately after exiting the character’s mouths.

Should be immediately screened in film schools across the world as a shining example of everything that is wrong with the American studio system and the increasingly dreadful junk it produces.

Warm, broad and uneven, City Island almost thrives in the lite entertainment zone where ethnic family dramedy meets mildly raucous farce.

Gordon is bit too good looking to really be the Greg Heffley the books detail, but he's not obnoxious in the role and will appeal to the target 'tween set.