Enough pep in this picture to make it rise above teen-movie expectations.

A dopey but sweet-natured I-love-to-dance film, fits nicely into the downhill-since-"The-Red-Shoes" tradition of ballet movies.

Boasting a compelling cast of characters, Wasteland” is a very smooth feature film debut from director Rowan Athale, and one that invites repeat viewings.

Doesn't have a lot to offer that hasn't been done better -- and worse -- in hundreds of ghetto-sink shoot-em-ups.

A fireworks show with plenty of "oohs" but not a lot of "aah" -- the story is needlessly convoluted in places and storybook-simple in others, and the characters never make the leap from drawn figures to flesh-and-blood people.

We all have childhoods to remember. Art needs to do more than just remind us.

The kind of minor work that may very well speak greater volumes about (Stone's) thoughts and feelings right now than another masterpiece would.

Beautifully shot, full of lush, vibrant colors and expertly wrought sets...a club-kid's frothy date flick.

Monuments certainly isn’t unbearable to watch, but for all its quality pedigree and good intentions, the result is a frustratingly flat film that drifts from moment to moment with a curious lack of urgency and an overbearing sense of self-importance.

Naming aside, Epic could have been good, except that it wasn’t, it was stone cold terrible, something even a six-year-old might scoff at. I know, I’m just as sad as you are about the whole thing.

The gravity-defying harness maneuvers popularized in the U.S. with "The Matrix" -- ... look really cool, but seem out of place in a realistic gang-style action movie.

Funny, immediately and consistently engaging, and -- well done on almost every level.

Peeples saves itself from a complete belly flop, by the barest of margins, by leaning heavily on its initial strength of good-natured charm.

Jason Reitman’s adaptation of Joyce Maynard’s Labor Day is as consistently assured a piece of filmmaking as any we’ve seen from the filmmaker and very much in keeping with the decreasingly glib nature of his output.

RoboCop has sound and fury to spare and even an inspired idea or two lurking beneath that polished exterior, but much like its upgraded namesake, this watchable mess ultimately lacks a prime directive to call its own.

Bonello's decision to show rather than tell keeps the audience on its toes.

This film could have gone horribly wrong, but the characters and chemistry are strong, and as such Beautiful Creatures should be lauded for elegantly delivering a tale that at least feels fresh and vibrant.

his bleak and somewhat sadistic picture is the type of movie that unfolds like a slow car wreck. You know something bad is going to happen, you just aren’t sure what, or how, and when it eventually happens it is repulsive and yet you still can’t turn away.

An excellent coming-of-age story that is, for once, and very happily, focussed on a teenage girl.

It is highly likely you’ll forget the movie by the time you go to bed.

Best of all are the supporting players. Everett (who played the Prince of Wales in "The Madness of King George") is smartly urbane, giving a polished refinement to the stereotypical "gay best buddy'' role.

Despite its apparent compromises to noble finger-wagging (initially) and requisite fist-pumping (eventually), Waugh has fashioned a sturdy character-first entertainment out of Snitch at a time of year when those are all too rare to behold.

I see Austin Powers as Myers' desperate cry for help -- a plea to stop him before he does schtick again.

A too-familiar road.

Loses touch with its characters.

Simplistic on one level, indecipherable on another, it's a most peculiar muddle.

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.

Story. Character. They used to mean something to George Lucas.