It all starts to feel eerily adrift and disingenuous, rather like a sales pitch for crypto. It adds some good insight to an important figure, but it is not the film Buterin really deserved.

A little sentimentality can fuel a lot of action, yet Zwick buries his film in cloying guilt, in the end sinking Defiance with the holocaust film's bait.

The result is tonally-uneven and predictable, down to its lame stabs at exploring xenophobia.

Occasionally fun and constantly deranged, it’s a film that could have been much more with a modicum of restraint. I gave the worms a shot, but I think I’ll stick to eating worms of the gummy variety.

Dreamgirls is a better musical than "Chicago" or "Rent," but then, that isn't really saying much.

On this ride we follow the two characters from casino to casino and from hallucination to hallucination with no real destination.

Screenplays like A Dark Place only get made because they’re familiar. They present intrigue and drama in a way that doesn’t challenge the audience but reinforces their belief of what a movie like this should be. This conformist methodology might make the movie palatable—and marketable—but it doesn’t make it any good.

The film itself is unremarkable, except for its good fortune of presenting John Travolta in his first starring role.

Benjamin Button is pretty much just "Gump" with better cinematography.

While Altman and Liu may have failed to create a fully developed storyline in All These Sons, the filmmakers enlighten the audience to the plights of young men who have been affected by the gun violence that has been ingrained into the overall image of Chicago.

A twangy soundtrack, a dying protagonist, spelled-out themes of family reconciliation and facing death… Look, if that’s your thing, you may as well add a point or two to my review and enjoy the hell out of Here Awhile.

It isn't going to set the world on fire, but it's perfectly acceptable for what it is.

As it stands, despite an impressive cast and gorgeous cinematography, there isn’t much to hold the viewer’s attention.

Race can satisfy with a steady pace.

There is an interesting set-up here for something great but Battle In Heaven never lives up to the expectations.

The first half of Luis (Angel Eyes) Mandoki's new thriller is as whiteknuckle, nerve-wracking as they come. The second is such a mishmash of overblown action and gaping plotholes, it's hard to believe it's the work of the same director.

Individual parts are actually quite funny, and the music, the most marketable element, is quite good. It's just that most of us cringe at photos of ourselves taken while we're really loaded. Too often, Hey, Happy! feels as if that embarrassment was taken to the next level.

There’s something missing in this concoction: self-aware humor, a courage of its convictions, a driving force that propels the plot forward . . . Perhaps it was all just too steep a hill to climb.

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.

Boasting an astounding cast — Nicolas Cage, Laurence Fishburne, Barry Pepper, Adam Goldberg, Leslie Bibb, and Clifton Collins Jr. — it’s even more disheartening that Running with the Devil is a garbled crime expedition that never follows through on its various subplots.

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.

Although sincere and well-crafted, the repetitive lethargy of A Still Small Voice would perform much better in a short art film, not a full-length feature.

Obviously the director has her point of view on the subject and the film is thusly slanted, but this bias, while good for the cause, may not be best suited for thorough documentary filmmaking.

When the film goes into its second half, the initial fascination has almost worn off. You still want to see how the puzzle is put together, but you want to see it rather sooner than later.

It's a bit of a shaky first screenwriting effort for Coupland, but not without its charms.

Watching this movie is like sitting on your couch for two hours to catch a little network prime time: you may be mildly entertained, but damned if you’ll remember any of it five minutes later. On the plus side, you probably won’t care.

While elements of the film may be a little cliché, I found it highly relatable. It would be dishonest to say I didn’t enjoy myself.

Give Harsh Times an "E" for effort, but not much else.