Not quite Abbie.

Out of the Furnace is no disaster, but it doesn’t achieve what it hopes to achieve, and it has no one to blame but itself.

A too-familiar road.

A collection of movie situations, recognizable from the films of Coppola and Scorsese, with a less obvious debt to Kazan.

Shaft is a decent popcorn movie and Jackson rises to the responsibility of appearing bigger than life.

Doesn't seem to have anything to say.

Mostly this film skims by on the surface, its conflict and climax visible from the opening five minutes.

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.

Sandler repeats his sweet-souled doofus routine, with nerdy Patricia Arquette as the object of his affections.

As executive producer of the film, he (Freeman) clearly sees something in Alex Cross, a man much more interesting than the cheesy plot surrounding him.

Doesn't know when to stop with the jokes about other horror movies and settle down to tell a coherent story.

A very competent film, but it barely pulls you in.

There is a point in the movie when this mayhem crosses the line from wildly imaginative to downright insufferable.

It can be treacly -- but in a crude way, it makes its point.

As he explains the male-male relationships and the absence of stigma or judgment, the film soars.

Then Bill Nighy shows up and is awesome and punches you in the heart. It ultimately feels like a cheat, and while there won’t be a dry eye in the house, it won’t be earned.

As a movie, quite frankly, it stinks. As an “entertainment object,” it will no doubt find its boosters.

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

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

When the writing is good, Go is good, and when the writing is flat, things fall apart.

It's a painful sit from beginning to end.

The final scenes, which suggest an earnest science lesson presented by a weepy extraterrestrial in an alien planetarium, play like the work of an amateur filmmaker.

Coy, cutesy, sentimental, and shamelessly manipulative.

The Homesman certainly wins a few points for trying a different type of Western. There are no greedy land barons and no gunslingers drawin’ at high noon. But being unique isn’t enough if the story remains uneven and the characters don’t feel real.

While Bounce may mark a sophomore slump for Roos, it's hardly the worst date movie out there.

It does yield solidly comic performances.

For adults, the film will drag in spots, but it's filled with all those values you hope to instill in your children.

While the film's mood is dreamy, dark, and gentle, it's also very slow and seldom leads to much of a intellectual or emotional payoff.