Cooties, while suitably gross and buoyed by game performances, doesn’t exploit its concept nearly as well as it should.

It pulls off the tricky feat of being both commanding and subtle, emerging with its dignity intact.

These film-making provocateurs are divided between sweet and sour, between the romance of classic screwball comedy and Mad magazine on acid.

In the tradition of "Sunrise" and "Eyes Wide Shut," crises set the characters on a kind of dreamy, nocturnal journey through chaos and fear.

A strange combination of mental exhaustion and boredom.

The premise is provoking and well-conceived, confidently moving things forward until the increasingly knotty rules of the film’s universe eventually come to overbear the experience a bit in the homestretch.

A slumming Spike Lee is still better than most directors at the top of their game, but Oldboy isn’t just Lee’s worst movie, it’s practically his “Wicker Man”.

Quite shameless in imitating its predecessors.

One of the best films of this year...unlike anything you've seen on the big screen.

“Expendables 3” has fewer nauseating clichés than The Judge.

We should expect more of summer fare than that it merely be a visual junk-food snack as we cool off in the chill of a darkened theater.

Simplistic and non-controversial, and thus is virtually guaranteed commercial success.

Not even Goldberg's near-flawless central performance can polish Kingdom Come beyond mere soap opera pap.

Over-plotty, convoluted, full of unanswered questions and unquestioned assumptions — is a big part of the problem here, but director Neil Burger (“Limitless”) pulls off a neat trick here, in that Divergent is a pretty diverting piece of moviemaking pulled from a not-especially-good story.

It certainly doesn’t hurt that Douglas, De Niro, Freeman, and Kline are just plain fun to watch together. As predictable and occasionally uncomfortable as Last Vegas can be, it’s an assured crowd-pleaser.

A darkly tense drama that rarely hits anything resembling an emotional beat.

Mandy Nelson's sugar-high bright-'n'-cheerful script takes a series of easy ways out, avoiding completely the prospective pitfalls of having to see any of these characters as complicated, contradictory, not entirely nice or identifiable-with -- actual human beings, in other words.

Destined to be remembered not for its laugh-per-minute ratio, but for breaking a barrier of crudeness in mainstream movies.

Emperor may not be the most dazzling of history lessons, but it never treats the past as a dusty, deserted place.

Vertical Limit has its share of intrigue, but there ain't no mountain high enough to make O'Donnell look deep.

What makes Hit and Runway uniquely fun, however, is the unapologetic extent to which Livingston and Cohen turn it into an index of beloved Woody-isms.

It’s minor LaBute, but nonetheless short and bittersweet.

The empty violence and pointless style are only the biggest problems.

Unfortunately the bulk of the picture is cut together like a beer commercial on poorly lit cheap video without much panache. Unless primary colors with a gauzy halo is panache.

A sweet, if slender, surprise.

Actions do have their consequences, though, and Weitz doesn’t try to end things too tidily for their own good. Were only that he had succeeded in committing to one of those films over the other, then Admission might have been this year’s “Liberal Arts” rather than this year’s “Smart People.”

While the film certainly targets a particular audiences, those viewers who don’t fall squarely into that demographic should nevertheless find the film pleasant enough, its pastoral ambitions compensating for its lack of finesse.

A long portrait of someone who outstays his welcome fairly early on.