The film is fast and tight and hits all the beats perfectly.

The big screen has a very difficult time capturing the talent of James Van Der Beek - literally. The aspect ratio of projected film simply cannot accommodate the full breadth of his enormous melon head.

Even the most learned moviegoer won't see where this story is going, and that's part of its charm. The characters have a depth to them that is rarely seen these days.

Slightly better than your run-of-the-mill late winter horror film.

Not sure if anyone wants to hear this, but A Good Person is a simple yet complex drama with the intention of bringing some good to this world.

I generally wince at the thought of a foreign film receiving a Hollywood do-over, but No Reservations satisfactorily Americanizes its German predecessor by taking an originally more serious story and adding to it a lighter, more comedic tone.

Lying and Stealing comes across as the object a thief would replace an art piece to prevent anyone from realizing it’s missing at first glance.

This is a decent flick, it is just I have seen this a few times before.

Every modification fails to improve the tale, and the whimsy and wonder of fairy tales are missing. It does not honor the original but shuns it instead.

You keep waiting for the pot to boil over, but it never does. Instead, Barker lets the steam vent out all too easily and the film falls flat in the end as a result.

An original and highly memorable comedy, and mention should be made of Ebiri’s work beyond filmmaking: he is also a film critic for New York Magazine, thus giving proof that those who review films for a living can also turn around and make a damn fine movie.

While it would be foolish to expect a completely faithful Shakespeare adaptation from Godard, there is no pleasure in being fooled into thinking that this vague, obscure, annoying, cacophonous wreck of a film is anything but a joke being played by a self-indulgent filmmaker.

Ultimately, Eurovision Song Contest: The Story of Fire Saga fails to transport us into this hyper-realistic world of Iceland as Ferrell is equally unable to endear us to his character of Lars in a film that didn’t need to be two-hours long.

Crikey, what a croc o’ shit! But hey, at least the title of this film lets you know exactly where it's heading. So as painful as this movie is to watch, if you willingly buy a ticket, you’re only doing it to yourself.

What DeVito does that makes me consider him a master is that he is able to capture the most horrible and nasty facets of the human condition and present them on the screen with the charm and warmth of an Andy Williams holiday special.

Hard-headed to the end, the three women in Face prove that if nothing else, stubborness and inflexibilty run in the family.

Like many of Claypools bands, Electric Apricot is bound to be a cult hit. I’m just hoping it will have the chance to play before a bigger audience as I feel the film is just plain hilarious and I was extremely impressed at the way Claypool pulled it all together in his first directorial effort.

Has its rollicking moments and snappy lines but even Pacino can't elevate them into more than a fleetingly juicy treat. This is a movie that desperately wishes it had been written by David Mamet.

Jungle Cruise is just plain, good, not-to-be-taken-seriously fun.

Provides mostly entertaining spectacle.

Doesn't necessarily make Murder by Numbers an awful film; it's certainly watchable, but it never escapes its paint-by-numbers design.

This film once again proves that Hollywood has apparently run out of original ideas and is forced to remake another classic film and, like most Hollywood remakes -- big surprise -- it SUCKS.

The action IS pretty engaging, Sao Feng and his gang of South Asian cutthroats are a nice addition, and the constant plot explication does require you to pay attention.

Let’s be real: the only reason to see a Jason Statham movie is for all that juicy action. Fist fights, knife fights, gunplay, machine-gun mayhem, explosions… all in this game of cat-and-mouse.

Freundlich’s approach to the film is respectful to the original but begs the question of why translate this particular film for a more mainstream audience. He does so deftly but After the Wedding trods in some familiar melodramatic territories, which may not have the same impact as the original.

Every now and then, a line or a subtle moment in someone’s performance has some truth in it, but little is sustained in Bullitt County.

Fatima has excellent production design. A lot of care went into getting the period details right. There’s some beautiful cinematography and decent performances all around. It’s just all so mushy and predictable. Faith vs. science, tragedy testing one’s faith – those themes have been explored before, more enticingly. Pontecorvo turns a fascinating bit of history into a by-the-numbers affair, and that may be Fatima’s greatest sin.

A masterful comedy that will divide audiences, but it left me laughing hysterically. I hope that doesn’t make you think I’m a sick bastard, but if so, piss off.