Crossing Over is not a success but make no mistake: There is great drama to be found in these streets.

Dews perhaps makes too much of the notion that Allis was a woman out of her time – a feminist precursor. This is too sociological a formulation for such a patently psychological crisis.

Garrone's messy storytelling compounds an already messy history. He's a powerful filmmaker, though, and a fearless one.

Not always believable, but the film has a moody expressiveness that stays with you.

There's plenty for us to feast on in Under the Sea 3D without drawing a single drop of blood. If you have small children, you'd be crazy not to take them to this film.

Director Henry Selick is all too effective at conjuring grody ghastliness. He's less effective at giving that ghastliness a human dimension, a resonance, a reason for being beyond cheap thrills.

I suppose it's a good thing that this movie has so many crisscrossing subplots. If one gaggle of whiners gets on your nerves, rest assured the scenery will soon change and another will take center stage.

The bloom is decidedly off the pinkish rose. Martin has a few inspired moments but in order to get to them you have to wade through a mosh pit of unfunny gags.

Fanboys, directed by Kyle Newman, doesn't delve into the mania of fandom, it exploits it.

It's not the retro attitudes in "Confessions" that bother me (at least not much). It's the lack of laughs.

What it's mainly about is movie stars skittering from locale to locale while bullets whiz by and the plot thickens – or, more to the point, curdles.

Don't be taken in by Taken.

The only point of interest in New in Town is sociological. In the current economic climate, this comedy about workers whose livelihood is rescued by a benevolent boss represents the ultimate wish-fulfillment fantasy. Don't spend your hard-earned discretionary cash on it.

Throughout the film there are small, rapturous moments.

By comparison, Bride Wars makes "Sex and the City" seem like Jane Austen.

It's a heroic story, and Zwick frames it rather too strenuously as an antidote to the generic Holocaust stories of Jewish passivity and martyrdom. And yet, as a piece of historical redress, a great service has been done in bringing this narrative to the screen.

Good contributes very little to a conundrum that has occupied historians and psychologists for half a century.

A sad experience, but the sadness has no emotional heft because its people have none. This movie hasn't earned its funk.

Based flimsily on a minor F. Scott Fitzgerald story, it's an anecdote stretched to would-be epic proportions.

All this gloomy masochism is made palatable because of the performers. And yet we must ask: Is this any way to show off two of our finest actors?

Sadly, it lacks the classic awfulness that might have lifted it into the pantheon of Truly Bad Movies. Instead, what we have here is a garden variety bad movie, of which there have been all too many lately.

Waltz With Bashir is a supremely courageous act, not only as a piece of filmmaking, but much more so as a moral testament.

Wherever you were schooled, in public schools or private, in the slums or in the suburbs, you will recognize yourself in this film and laugh and beam and cower.

At worst is inoffensive. But that's the point. When you're making a movie about people whose lives are torn up in this way, inoffensiveness is, well, offensive.

Seven Pounds, coming after "The Pursuit of Happyness" and "I Am Legend," seems like the third in a trilogy of inspirational bummers.

Throughout it all, however, I couldn't escape the feeling that this movie belonged on television instead. It has the immediacy, but also the shallowness, of an extended TV episode. Talking heads proliferate and pontificate.

A heavy dose of corn syrup. Director Darren Aronofsky's herky-jerky, hand-held camera stylistics have a veneer of verity, but don't be fooled. This pastiche, written by Robert Siegel, is purest Hollywood.

For most of the way this ecofriendly fantasy is pleasantly clunky, and Reeves, whose expressive range here is slim to none, is perfectly cast as the alien.