The surprising part is how, once you get over the crude humor that the teen-movie genre demands, Get Over It is a nice little movie.

Stripped of the pretension of the overrated "Trainspotting," but it's also void of the earlier film's ambition or glimmers of real cultural insight.

Trots out more flag-waving wartime cliches than any movie since John Wayne's "The Alamo."

Little of this is plausible, but it is beguiling.

Perhaps you have to have lived through the 1960s to relate.

Fails to single out one plot thread and make a claim to it.

The effects never really get ahead of the characters or the script's layered personality.

The film's light success really comes down to Shannon, though, the exuberant "SNL" star whose alter ego actually seems more real and sympathetic here than she does in brief TV skits.

If only this movie were rich enough, strong enough to be worthy of this (Dafoe's) performance.

A cool and rather detached movie...Heat generates lots of energy but gives off little light.

The best thing about this new Godzilla is that it spares no expense or effort to deliver big, burly IMAX-ified action... The worst thing about this new Godzilla is how that’s the best thing about it.

Austenland is as light and airy as a cream puff, and as entirely unfulfilling. Fans of the book may find it amusing, but those looking for heartier romantic comedy fare would do well to look elsewhere.

Far from perfect, and at 122 minutes it's way too long, but after surviving an overly schematic and even hectoring first half, finally delivers the emotional goods.

An unexpectedly adult emotional rollercoaster with some very cold and unsettling things to say about men, women, marriage, and the lies we so often tell each other.

A magic-realistic fable whose lows soon prove as infuriating as its highs are intoxicating.

One Day in September does "being there" very well -- I just wish director Macdonald had spent a little more time explaining why we should want to be there in the first place.

It's a painful sit from beginning to end.

An OK debut effort, but like so many "Pulp Fiction" wannabes, it lacks freshness and energy.

The ride in this road movie isn't always as smooth as it could be, but even the bumps have some charm.

Burdge is left to do much of the heavy lifting in terms of inviting the audience into her protagonist’s shaky state, and her performance boasts a remarkable emotional precision throughout — if ever there’s a reason to seek this one out, it would be for her.

An occasionally powerful, always heartfelt drama.

There’s just too much good stuff to dismiss White Bird in a Blizzard out of hand, even if it does have a somewhat dull and desultory plot.

Doesn't go the distance in either story or style, unwilling to liberate itself from real or presumed expectations about what it takes to sell a movie featuring teenagers.

A snoozy-but-diverting, lightly constipated B-movie.

Look to the cast as the best reason to see this film.

It's sumptuous, archaic, and longer than a firehouse ladder.

It’s merely somewhat better than last year’s meandering dud — a slight improvement on a movie that should have been pretty easy to improve upon.

An exercise in outrageous style over substance.