Despite the film's coy artiness and a lassitude that sometimes passes for soulfulness, Certified Copy is strangely haunting.

The movie, despite what you may have gathered from the goofy trailer, is more sweet than silly.

What would you do if you could take a pill and suddenly access 100 percent of your brain power? This is the premise behind Limitless, a sci-fi thriller that looks as if its makers utilized around 30 percent of theirs.

A moderately creepy, often garishly violent action horror film frontloaded with heretics, Christians, mercenaries, witches, witch-burners, and necromancers. There's something here for just about everyone.

Oldman makes a four-course dinner out of the scenery with enough slash and burn to leave you wondering if he is vying with Nicolas Cage for the title of filmdom's biggest hambone.

The latest cinematic adaptation of Charlotte Brontë's novel, is like "Masterpiece Theater" without the masterpiece.

When the military brass warns that "we're about to be colonized," you wonder if they mean to shut down the borders. It's probably not coincidental that the film is replete with Latino actors, or that one of the prime subplots involves a Hispanic father trapped behind enemy lines with his young son.

The happy endings in "HTYMP," as sweet as they are to experience, seem more engineered than inevitable.

The best of Rango is a lot like the best of the first "Pirates" movie – crazily funny and rambunctious.

If the head of the bureau is God, then why is he played by Terence Stamp and not Morgan Freeman?

It's a transcendently uplifting tragedy.

A great way to go on a safari without ever leaving the multiplex.

Wilson has a gawky affability here that helps redeem much that might otherwise seem tasteless (as opposed to tasteless-but-funny).

It's an omnisexual variation on François Truffaut's "Jules and Jim," although stylistically, with its emphases on hipper-than-thou attitudes and moody-blues visuals, it's much closer to the early work of Jean-Luc Godard and Wong Kar-Wai.

He was the Beatles of the hair business.

Essentially three movies in one: The staged reenactment of Columbus's expedition, the filming of that staged expedition, and the contemporary local uprising. It's a lot to bite off, especially since Bollaín's budget doesn't seem to be much larger than Sebastián's.

Framed as a cautionary thriller about the perils of high-stakes terrorism, but I took away a different message from it: Don't forget your briefcase at the airport.

Has an inordinate number of good laughs mixed in with the not-so-good ones.

Almost a textbook example of how to do more with less. It's about aimless people who suddenly find their aim.

A fumbling comedy directed by Dennis Dugan that could have benefitted from surgical reconstruction. How about some liposuction to siphon off all those lame jokes?

However you slice it, The Eagle is hokum, but modern-day Scots may get a kick out of the film's depiction of their ancestors as mud-caked hellions. Modern-day Romans will have to settle for less.

A suggestion to screenwriters: Stop telling stalkers that their passion isn't misplaced and that the girl will come around in the end. It is, and she won't. Just give it up.

It's technically impressive, but most of the better aspects of Sanctum would be almost – maybe exactly – as effective viewed the old-fashioned way.

It's a deliciously perverse melodrama.

Iñárritu does the actor no favors by putting him through the existential wringer every step of the way. Uxbal suffers for all our sins.

Although the filmmakers try to avoid roteness, the conflicts tend to play out along circumscribed lines. This gives the film a seesaw sameness. It's all a bit too diagrammed.

The film isn't helped by Kline's cameo, although his comic timing is impeccable. The problem is that what he's timing – the role of an aging ego-swelled roué – is very tired stuff.

An odd amalgam of soap opera and street-level realism, with, alas, the former trumping the latter.