The film would have been more satisfying if director Jan Kounen (Darshan: The Embrace) had shown more of the ferment of the times.

The movie gathers steam as these little terrors up the ante with each new gross-out recipe. Former child star Hallie Kate Eisenberg, blooming into a beautifully poised young woman, grounds the film as Benward's loyal supporter.

Though the idea of the therapy appears to be the demystification of sex, the filming, with its voyeuristic detachment and curious prudishness (no genitals are shown), serves only to perpetuate the familiar fetishistic mechanisms.

DeVito's low-key midlife crisis is consistently moving, but Spacey, saddled with the role of provocateur, is demonically boring.

The story didn't fully answer all my queries about the characters, but did such a nice job of keeping me interested that I wound up appreciating the mysteries that remained.

Conveys little sense of a connection, as if di Florio had made it mainly because she had access to a celebrity.

Neither the characters nor the events are exactly the same as those of the novel, but some of the same spirit comes across.

We're never allowed to feel much of anything for these characters, and as a result their agonizing over their lost past and uncertain future seems like whining.

The result is a dull and campy 97-minute bloodbath offering little distinction between good guys and bad.

Australian mockumentary offers plenty of cheap laughs early on.

Franklin and Murray manages to live up to the demands of a thriller without sacrificing character to frenetic pacing, and the film exudes a kind of sweetness that never threatens to become either sticky or synthetic.

A tired, generic crime story.

Amiable comedy western, with James Garner expanding on his Maverick image as a boom-town sheriff who’d rather use his cunning than his guns.

Eastwood essentially uses the Lady Chablis the same way he did a few extended Charlie Parker solos in Bird--as unbridled, inventive improvisations that challenge the well-rehearsed "head" arrangements of everyone else.

The gags are slighted in favor of John Denver-style homilies, mouthed by John Denver, while the film collapses under the weight of missed narrative connections, the apparent victim of excessive recutting.

As a suspense movie, this works pretty well: director Bryan Singer (X-Men, The Usual Suspects) maintains a crisp pace as the plotters set out to kill the fuhrer with a briefcase bomb, and the historical details of the botched coup, which exploited one of Hitler's own contingency plans to mobilize the army reserves and disarm the SS, are inherently interesting.

The remake plays like a shallower, more clichéd variation on his masterpiece, "Pan's Labyrinth," but its mix of gory effects and deliciously old-fashioned visuals make for a classy, scary horror show.

Director Shawn Levy delivers his usual middle-of-the-road product.

A musical number or two might have balanced the overdetermined politics and spectacle in this version.

The comic juice tends to spill out in all directions.

Broadly speaking, the popular literary biopic is a hopeless subgenre, but this account of the relationship between Sylvia Plath and husband and fellow poet Ted Hughes manages to test the rule thanks to its unusual seriousness and first-rate performances.

Has an affable charm, but the script is paint by numbers.

Baier's interweaving of documentary-style sequences with poetic, dreamlike imagery underscores the competition between Loic's harsh external circumstance and his lyrical internal yearnings for a better life.

This is basically Hollywood nonsense with all the usual dishonesty, but it goes down easily.

Minor grisly fun, but don't expect the movie to linger when it's over.

What might have been a serious drama about coming to terms with violence and loss turns into a crowd-pleasing and increasingly far-fetched remake of "Death Wish."

Holiday counterprogramming at its finest. This gut-churning horror indie is based on true stories of tourists disappearing in the vast Australian outback... This scared the hell out of me.

A more honest film would have been a greater tribute to this brave and tenacious fighter.