Levine – whose last picture was the intriguing, if only partly effective, cancer comedy “50/50” — is going for something more here, exploring what makes us human by contrasting it with a character who has lost all the basics and is desperate to get them back.

Too long, too predictable.

A bawdy and belligerent comedy, meant mostly for folks looking for nothing more than to enjoy a few laughs.

I'll be damned if I can figure out how its various ingredients are supposed to blend together.

Irresistibly entertaining and beautiful to look at it, the film is pleasant at worst, and – at best – wisely defies its slapped-on American title, a warm reminder that love isn’t a solution so much as it’s a brilliant way of embracing life’s problems.

He spent 28 years in prison and this is what he gets?

Barrymore's sunny energy pushes the movie along, but halfway through you realize there just isn't that much to push.

As the movie plods on, the jokes start to fall flat...Worst of all is a centerpiece scene, when Ben has to pretend to be a mafioso (but sounds more like a cross between Martin and Lewis), when Crystal is so unfunny that you almost feel sorry for him.

They Came Together is a very fast, often very funny riff on a very tired Hollywood formula.

Unfortunately, whenever the story quiets down for exposition or to move the plot forward, it all becomes a grinding and often confusing bore.

Discordance, meet The Iceman, a film so wrong-footed it should take Eugene Levy out for a coffee.

Ultimately seems at war with itself, torn between its duties as an entertaining, engaging movie and a somber, sincere memorial, and in splitting the difference, the film effectively assaults its audience almost as aggressively as its subjects.

Hateship, Loveship suffers due to its dedication to an oddly unsettling type of earnestness.

Expertly done, and a real joy to watch.

Once at sea, The Perfect Storm collapses in a heap of spectacle and a dubious piling-on of scary incidents.

Little of this is plausible, but it is beguiling.

The problem is that the motion picture around these individual stunts is patently a committee-made artifact.

Crudup tends to take average parts in standard genre films and turn them into something special.

Glover and Bassett ground the film, in the flashbacks and in the body of the film, and lessen the riskiness of maintaining the play's theatricality.

The Best Man Holiday goes whole hog on the holiday cheese, and there’s something admirable about an adult feature that doesn’t balk at real feelings, especially around the holidays (sex montages notwithstanding).

This relationship might be strong enough to carry an observational novel, but the movie feels like it's missing something.

The sequel quadruples the recipe, with gags on top of gags on top of gags in a way only animation could achieve. Like a foodie “Jurassic Park” conjured up by Tex Avery, “Cloudy 2″ is a sight to behold … as long as your brain hasn’t turned to mush by the halfway point.

Go For Sisters is something of a frustration. It’s the least interesting crime caper ever, and there are fascinating characters forced to go through the motions as if any of us could possibly care.

A modest picture with quiet ambitions that is likely to disappear into that lush tropical rainforest where so many films of this sort, some much worse and others much better, have all gone in time. Catch it while you can.

A sophomore writing-directing effort from former film critic Rod Lurie.

Suffers from a script that places dramatic emphasis in all the wrong places.

The kids’ performances are effective and strong, with little touches that bring them to life as recognizable types of smart young people.

Everyone will be indifferent, as indifferent and uncaring as the characters the film portrays.