Takes a workable premise wrapped inside a mostly-talented cast and piles it all on poor Bosworth’s shoulders; it’s just not fair, you see how narrow they are.

Cage and Sinise earn their pay, but the story by De Palma and David Koepp -- which strains for romantic glory of De Palma's "Blow Out" or "Obsession" -- gives away too much too early.

Haunting and chilling, yet biting black tragi-comedy.

Touch Me is worthy of the same regard as the great hard drug classics like Trainspotting and Requiem For A Dream. In fact, Touch Me is the new heroin beacon shining high on the arthouse hill.

This movie is metaphysical fun, and while some elements are predictable, it’s an engaging mystery.

The Big Ugly is a fascinating beast. While the premise of the film sounds annoyingly trite, writer-director Scott Wiper develops an engaging batch of characters.

Another astute independent comedy shot on a small budget and boasting high laugh-per-minute ratio. But these are good laughs, not your average sitcom laughs.

It's a fun but somewhat uneven romp, enlivened by its unusual setting and lovely female lead, Miranda Otto.

By reducing the impact of addiction to wearing sunglasses indoors and singing badly for Scandinavians, all cautionary benefits of Houston’s tragedy are lost in the stage lights.

Not only did those so-called "demons" take the form of animals, but they actually talked!

Jurassic World: Fallen Kingdom is exactly what you think it’ll be. Whether that’s a good thing or a bad thing is up to you.

Some of the footage is exceptional, yet several of the more impressive stunts are shot from so far away on digital cameras that the resulting onscreen resolution is just a shade above god-awful.

Slightly less than lovable. It’s a strained romantic comedy that starts promisingly, takes a hard left turn and slowly falls apart.

This is the kind of film where you think you can predict everything that’s going to happen upon the first shot and you spend the rest of the film praying that you’re wrong. But it’s fun getting there.

On the whole, The Brothers Grimm is a mess; a formerly daring director’s attempt to cash in on big studio backing even after the rug has been pulled out from under him.

The movie is also just plain out fun, and I feel like a lot of other horror films could take a lesson from it.

This musical epic is unlike anything I (or anyone I know) have ever laid eyes on.

David Schwimmer, our whiny friend, is used to good effect as Heche's boyfriend.

When the most sympathetic character in your comedy is a skinhead, you’re definitely on to something, and Jensen definitely is here.

Ben Whishaw’s raw central performance keeps one glued to the screen, but the cold and distancing result doesn’t quite do it justice. Shame, as Karia, displays a knack for building tension and maintaining an almost nauseatingly melancholic atmosphere. If only he dug a little deeper.

The film’s most tremendous success is its willingness to address difficult questions about Switzerland’s past.

Human Capital is a fantastic study of people being pushed to their limits, not just financial, but emotional and social.

Starts out as a first-rate chick movie and winds up a second-rate guy movie. But if this somehow proves to be a formula for the perfect date movie, then Kidman is even more brilliant than we thought.

Celebrated actor Lin Chung, whose voice seems to articulate something within himself.

There is a lot to like in Kaaterskill Falls. The characters are engaging and believable even when events stretch the envelope of realistic behavior.

Anytime the characters aren’t actively trying to kill each other, it feels like the directors just got bored and are marking time till they can get to the “good part.”

The tempo of the film does well to cure the unlikely romance with just the right amount of anxiety and the leads — especially Cook, who is wonderfully promising here — create an earnestly heartfelt chemistry.

The performances are inspired.