Their chemistry as performers together is particularly noticeable, so it’s a shame more focus wasn’t given to keeping the three of them on-screen together as much as possible.

Ask Dr. Ruth is a lovely tribute to the renowned sex therapist, but it’s not blazing any trails of its own as its subject matter has. As a documentary, it’s pretty formulaic.

Recommended for the toothsome Jennifer Tilly, the manic Billy Boyd, some inventive deaths, some inspired gore, and one frankly hilarious scene involving Tilly and a decapitated corpse.

Lee’s film never escapes its B-movie roots, nor does it try to, embracing its own pompousness.

A dance of combat and humor saves a contrivance from drowning. Or, rather, Chan and Li elevate it enough to make it into a good time.

Overall, the whole isn’t as funny as some of the parts. While some scenes had me laughing hysterically, others had me looking at my watch and feeling like I was in the middle of a “Saturday Night Live” sketch that was just going on waaaaaay too long.

Some of the navel-gazing in Use Me verges on gratuitous. Certain scenes lag momentum and pacing. Yet Shaw touches upon compelling themes: the futility of our pursuit of the American Dream, the fragile line between “fetish” and “addiction,” and the effects of society’s digitalization.

Aaron Paul brings his trademark street-corner angst to the party, and it plays just fine. As child actors go, Murphy is pretty good. McNairy and Winstead do a fine job of realizing that silent, domestic agony that neither party wants to bring out into the open, fearing it won’t go back in.

Thurier’s direction gives the production its soul. His vision for Kicking Blood creates a visual motif invoking exploration and inviting the audience into a world of tortured, blood-addicted vampires.

Is he (Rock) the next big thing? After seeing The Rundown, one of the most joyfully silly genre films in recent history, he has my vote.

Masterpieces of literature-to-film are a rare breed; this film falls short with satisfaction.

Perhaps the key to understanding where Steamboy goes wrong is in understanding why Otomo's previous animated feature "Akira" was such a success.

The Man Who Killed Hitler and then the Bigfoot isn’t the loony chuckle-fest that many might want and it’s not as affecting a character piece as Krzykowski might want, but it’s a crackpot showcase for a performer who deserves one or two, crackpot or otherwise.

Anyone who loves rock music will appreciate the script's insights into the form and its history.

As a director, Underdahl can't entirely decide whether he's making a Hollywood film, a film school film, or post modern film.

It’s a true endurance test, far too grim to be considered exciting, but not really informative enough to enlighten us about the effect of our presence in Somalia in 1993.

It's a reasonably entertaining actioner, and Zwick doesn't shy away from depicting violence or the horrors of war, but as a social statement it falls a little short. And emeralds are prettier anyway.

As with many films nowadays, the supporting cast actually shines more than the principles.

The performances are great, the chemistry between the two leads is very good, and Ron Howard again proves himself a slick hand behind the camera. But like a lot of these power-packed pictures, there’s just something missing.

This children's fantasy flirts with the dark side, though family values win out. Thus, the movie remains devoted to heroism and is as opposed to the bad guys as it would be to killing off Brendan Fraser.

The first half of the film is engaging enough to overshadow the missteps of the final act. It's a down and dirty look at the world of the ko gals, but it has class.

For most of the film's 104 minutes, the characters have experiences that range from serious to zany. Although I can't formulate a better resolution to the narrative conflicts, I Love You, Man ends on a note that is too cute and conventional to accept.

Another problem with the film is the pacing. The main story is interesting enough, but it just feels padded and stretched.

Being released at the same time that Bowie's latest album "Heathen" is being unveiled. Bowie fans who need a reason to celebrate the trajectory of the artist's career can make use of this cinematic Alpha and CD Omega.

Cooper who was so poignant in "Lone Star," gives an emotionally robust performance.

Luke Wilson has done some of his best work in dramatic roles (see "The Royal Tenenbaums" for clarity) and while he is not playing an entirely serious role here, his performance is still the most engaging.

Nightride promises to take you on a ride, which it does; a bumpy one, filled with detours and ennui-inducing stretches.

Glass is not a perfect movie, but it is a consistently entertaining one.