Gucci might have been a better movie if it had fully committed to the high camp its Blondie-soundtracked trailer promises. It's more serious than that, at least intermittently; a strange melange of too much and not enough. The script also skimps, weirdly, on the actual murder, which is treated mostly as a framing device and felonious afterthought until the final moments. But even a House divided is still more fun than it probably should be: a big messy chef's kiss to money and fashion and above all, movie stars — criming and scheming like they have nothing left to lose, until it's true.

This cranked-up drama wants it both ways.

Beneath all of its hard-R partying, rebellious debauchery, and profanity, it taps into something very real and insidious in the zeitgeist. It’s one of the funniest movies of the year—and one of the most necessary.

A shiny-bright jukebox musical with a heart of gold and a plot of pure polyester, Mamma Mia! Here We Go Again works hard to be the feel-giddy movie experience of the summer. And it mostly succeeds in its own glittery, aggressively winsome way.

Throw in a nagging divorce settlement, an unplanned murder, and Billy Crudup - hilarious! - as a raging security man, and Jill Sprecher's film enjoyably fuses cleverness and sheer desperation.

Lonely Hearts never locates the key to the killers' bloody bond.

By the end, the pieties of Nell fall into place all too neatly.

You never forget you're watching a derivative, machine-tooled entertainment; the fun is in how the machine keeps spinning off course.

The supporting cast includes Nick Nolte, Christine Lahti, Jennifer Jason Leigh, and Hailee Steinfeld, making the movie’s greatest accomplishment the fact that it was able to squander so many interesting actors.

Yet as Everything moves from nation to nation, the cohesion and potency of its message dissipates.

I will say that it's been a while since a romantic comedy mustered this much charm by looking this much like life.

The story belongs to its young cast, and Lords' ramshackle comedy sweetly captures the rank anxiety, random humiliations, and undiluted hope of being young.

The film says that the U.S. immigrant situation is untenable, but then it forces US to ask: What should be done?

A sobering look at the bureaucratic trials and life-and-death decisions rookie doctors face on their daily rounds.

British director Sean Ellis has a knack for staging the film’s early plotting-the-scheme scenes in dimly lit, monochrome interiors, but the storytelling is disappointingly square.

The film’s nihilism serves as a metaphor for the merciless death pit of Mexico’s drug war, but not much else.

And although director Paul Anderson treats the story with appropriate deadpan respect, there are enough sparks of humor (particularly generated by Linden Ashby as a shallow martial-arts actor who worries that he's a fake, with good reason) to amuse the adults accompanying the 10-year-old boys in the audience.

Glosses over the kids' lives off the court.

Oh well, back to the drawing board.

One of the happiest movies around.

The Rundown is actually a lot of fun, mostly because The Rock, simply by standing there and being The Rock, cancels out Scott entirely.

Petersen gives us monumental images of waves and rain and wind, but the editing is so choppy that the images don't build and crest.

Beowulf is a solemnly gorgeous, at times borderline stolid piece of Tolkien-with-a-joystick mythology.

What sets it a notch or two above rote familiarity is its cast, featuring a charismatic, white trash-with-a-heart-of-gold turn from a mulletted Matthew McConaughey and a naturalistically low-key performance from newcomer Richie Merritt.

Like the garden at its heart, The Secret Garden has always found its beauty in its quietude, a small story of hearts broken and healed through nature, attentive care, and true connection. But this adaptation doesn’t understand that, instead drowning the film in showy set pieces and magical realism rather than understanding the inherent magic in all things.

The newcomer kids are delightfully...kidlike. Cosmic bonus: "The Office's" Rainn Wilson plays a New Agey science teacher.

Jordan lets slip virtually every rudiment of drama. He never deigns to develop his characters, he coats the movie in a wet blanket of whimsy, and he lets pop songs do his work for him more lavishly than Cameron Crowe did in "Elizabethtown."

Franco gives one of his most subtle performances yet as a recovering-alcoholic father, and the three young newcomers’ performances are honest and affecting, capturing what it feels like to be adrift and on the verge of adolescence.