Director Cherie Nowlan steers the comedy to a feel-good ending.

The film is watchable as well as informative...But I wish I had a better notion of what story he's trying to tell.

Because so many female characters spend so much time trying to seduce Harrelson (usually successfully), the notion that multiplicity enhances intrigue is pretty worn out by the time any duplicity is revealed.

Lichtenstein dutifully unpacks the family's unhappy past, but he's so easily distracted by surreal dream sequences and colorful supporting characters that his main story gradually dries up into a sitcom.

Writer-director Spencer Susser and cowriter David Michod (Animal Kingdom) generate fresh hells at a surreally rapid clip but cop out with an incongruously sentimental ending.

Alan Rudolph's 1994 feature about writer Dorothy Parker and the famous Algonquin wits she hung out with in the 20s certainly has its pleasures, but someone should tell Rudolph that, for all his skill and charm, period movies aren't really his forte.

The involved backstory and Hartley's own generic music both prove burdensome; the main attraction is the cast's amusing way of handling Hartley's mannerist dialogue and conceits.

You won't find many surprises in the equally funny U.S. remake from producer and star Chris Rock.

This exercise in mainstream masochism, macho posturing, and designer-grunge fascism is borderline ridiculous. But it also happens to be David Fincher's richest movie.

Remaking Get Smart without Don Adams and Barbara Feldon is like remaking "My Little Chickadee" without Mae West and W.C. Fields--the best possible outcome is disappointment.

If you're looking for a simple-minded farce with campy overtones, this 2008 feature might be your dish.

Whitaker directed this flaccid romance from a script by girl-power hacks Jessica Bendinger.

As the phlegmatic, beer-guzzling protagonist, Will Ferrell manages to keep this rolling, though Rush's corny narrative devices (each of the minor characters receives an ironic gift at the end) couldn't be less consistent with Carver's stubborn minimalism.

I never thought I'd see a slapstick animal action movie about the beauty of interracial relationships and nonmarital sex, but that's what this is, and kids seem to love it.

Nothing much is original in this soggy tale of two German women whose friendship persists despite adversity and their own bad choices.

Garish and goopy—a kind of West Side Story reworked into its original form.

Makavejev's ripping political/scatological wit isn't much in evidence, and the long middle section—involving Roberts's efforts to close down independent bottler Bill Kerr—is soggy and too familiar, but the film lives in a hundred different eccentric details and niceties of execution.

Director Jacques-Remy Girerd often divides the frame into three vertical bands, each with a different color signature; this dynamic technique makes the eventual introduction of explosive action sequences seem like overkill.

Rises only slightly above the level of a Harlequin romance.

I'm qualified to report that this piece of junk faithfully re-creates the Hanna-Barbera formula of scary monsters, flimsy mystery, and watery comedy.

As a movie genre, the ghostly romantic comedy dates back at least as far as "Topper" (1937), and the stale premise, combined with the leads' typecasting, makes for an eminently forgettable date movie.

Another chapter in the ongoing struggle between the talented Mike Figgis (Stormy Monday, Internal Affairs, Liebestraum) and studio recutters and reshooters, this intriguing but unsatisfying love story between a manic-depressive (Richard Gere at his best) and his sympathetic therapist (Lena Olin) makes memorable uses of both its west-coast settings and its cast (which also includes Anne Bancroft), but, like Liebestraum, it seems to come to us with several parts missing.

I suspect an account of all the complex business transactions would be more fun than anything in the movie, where you can't see a blue sky that isn't made up to resemble the Dreamworks logo.

Unfortunately, Harold Becker's direction seems deliberately designed to pull the material toward the bland and conventional—toward easy payoffs and Rocky-style inspirational melodrama.

Predictably adolescent and smarmy, with the mix of sentimentality and cynical flippancy that's becoming Steven Soderbergh's specialty (even when he's pretending to make art films), this is chewing gum for the eyes and ears, and not bad as such.

Ralph Bakshi gathered retired animators from all over the world to work on his 1972 film, misleadingly billed as the first feature-length cartoon for adults. The results, inevitably, were disappointing; Bakshi just didn't have the money to make it right.

The humor loses momentum as the cleric shuns her advances, and the action grows frenetic following the arrival of his twin brother, a macho general.

Despite the title, this is less a soccer documentary than a corporate hagiography along the lines of "The Last Mogul" or "The Kid Stays in the Picture"; its real hero isn't Cosmos star Pele (who wisely declined to be interviewed), but Steve Ross, CEO of Warner Communications, which owned the team.