It’s nice to see Hart in a role where the comedy is relatively low-key and dialogue-driven (though there are a few hilarious physical bits of humor).

The movie is that it's all surface and no substance. Not even the slightest attempt is made to suggest that the film takes its own story seriously. Everything is style. The performances seem deliberately angled as satire.

If the stream-of-consciousness, imagery-trumps-everything films of Terrence Malick tend to try your patience, this beautifully, beatifically boring imitation by a Malick protégé might be more than the better angels of your nature can endure.

Director Marc Webb and his forces come up with some gorgeous special effects, and Andrew Garfield and Emma Stone have terrific chemistry, but as is the case with far too many superhero movies, the plot is a bit of an overstuffed mess.

It's remarkable, a war story told as a chess game where the loser not only dies, but goes by necessity to an unmarked grave.

Doesn't reach for reality; it's a deliberate attempt to look and feel like a 1940s social problems picture, right down to the texture of the color photography.

Passionada assembles the elements for a soap opera, and turns them into a bubble bath.

One of the most entertainingly ludicrous movies of the year.

An uneven but touching comedy with a cheery score that sounds too much like whistling on the way past the graveyard.

Finding Steve McQueen is a combo platter of crazy-but-true history mixed with creative fiction. The result is an entertaining if sometimes overly self-conscious 1970s period piece, bursting with pop culture references.

The film retains a certain power and is ripe for rediscovery. Its theatrical morbidity and poetic earnestness could make it a favorite of moony teenage depressives everywhere, especially as Grazia -- like Romeo and Juliet -- appears to prefer Death to a compromised life. [25 Dec 1998, p.12]

On film, Rent is the sound of one hand clapping.

This one holds its flavor better than most.

With Cage delivering the goods in a juicy supporting role, and Hoult and Awkwafina developing a nice buddy-cop type chemistry, Renfield is an uneven but entertaining enough vampire comedy that gets as many laughs from creative slicing and dicing than it does from the dialogue.

Suspect is a well-made thriller, but it was spoiled for me by an extraordinary closing scene where Cher, as the defense attorney, solves the case with all of the logic of a magician pulling a rabbit out of a hat.

This is no history lesson, but it’s mainstream Hollywood entertainment that respects the history and seems to invite discussion and debate.

Sharp Stick is a rather sour and troublesome film—a strange hybrid that sometimes plays like a Fractured Fairy Tale and is populated by razor-thin characters who behave in an inconsistent manner and exist in a world that alternates between gritty reality and some kind of bizarro alternative world where things just don’t add up.

The movie stars Jim Carrey, who is in his pleasant mode. It would have helped if he were in his manic mode, although it's hard to get a rise out of a penguin.

The reader of a pulp crime thriller might be satisfied simply with the prurient descriptions, and certainly this film visualizes those and has as its victims Jessica Alba and Kate Hudson, who embody paperback covers, but the dominant presence in the film is Lou Ford, and there just doesn’t seem to be anybody at home.

The Tender Bar is unabashedly sentimental — it’s one of those movies about writers told from the point of view of the writer that romanticizes everything about writing — but Clooney’s sure-handed direction and pitch-perfect attention to the 1970s and 1980s period-piece material, combined with the warm and relatable performances, make for classic comfort-movie formula.

Maybe Muppets from Space is just not very good, and they'll make a comeback. I hope so. Because I just don't seem to care much anymore. Sorry, Miss Piggy. Really sorry.

Dog Eat Dog occasionally positions itself as social commentary, but it’s mainly a bloody, trippy, bare-fanged pulp thriller featuring terrifically entertaining performances from old dogs Cage and Dafoe.

I realized the human potential movement has gotten completely out of hand when I heard Goofy telling Max they needed to spend more "quality time" together.

It’s essentially a stand-alone film, though it doesn’t really stand so much as it wobbles and careens all over the place before exploding in an overwrought orgy of grotesque images, religious psychobabble and second-rate CGI nonsense.

Hypnotic is an uneven, at times mesmerizing and dazzling mind-bender of a psychological thriller that plays like a drive-in movie version of a Christopher Nolan film.

Sweet and high-spirited and with three dancers who are so good they deserve a better screenplay. This is really two movies: A stiff and awkward story, interrupted by dance sequences of astonishing grace and power.

American Underdog is a fitting family album for the Warners and solid, safe entertainment for the viewer.

The disappointingly flat and decidedly un-erotic non-thriller Deep Water is the kind of movie that has you thinking about other movies as you tap your toes impatiently, waiting for this great-looking but dumb and bloody mess to swirl around the drain and disappear.