Both Tipton and Teller are better than this material.

A clumsy and tone-deaf comedy.

Has its clunky and wince-worthy moments, it does explore some new territory, and there are moments when it's quite fresh and moving.

It's solid, if ultimately uninspired, July entertainment.

The only thing moviegoers will hate more than the phony, faux-felt conversations of About Alex at its worst is the unfulfilled promise its high points suggest when it’s at its best.

It just doesn't work. Worse, it's downright offensive.

Silly in some parts, but sheer fun in most, Bootmen will get you wiggling in your seat with a big grin pasted on your face.

Like the back half of its namesake, Wonderstone isn’t terribly hip, edgy or new itself, just amusing enough to pass the time. While Scardino and friends do manage to end the film on an admirably nutty note, this gathering of comedic minds ultimately fails to produce any true movie magic.

The latest installment in the "Boys Life" series has just as many hits as misses -- more misses, actually -- but the high points easily stand alongside past triumphs.

Raimi manages to keep things engaging, which is a very real act of wizardry in and of itself.

A relentlessly unfunny, charmless send-up of better films with better ideas.

Afailed attempt at a hipster screwball comedy. Very failed.

A nonsensical mishmash.

The audience for this film would be those people who like their cinematic fare pre-digested and painfully familiar.

Slick, polished to perfection, derivative and stripped of any of the real quirks or idiosyncrasies that make a romantic comedy fly.

Parts of this three-hour World War II epic are brilliant -- especially the 40-minute sequence in which the sneak attack on Pearl Harbor is stunningly re-created.

Vatel is really about production design, so if you're not absolutely passionate about 18th century table-settings, wigs and bodices, you might as well just stay at home and watch the Food Channel.

It's really too bad the film remains so resolutely flimsy, because the novice cast is so clearly delighted to be putting on a show, their glee is contagious enough to carry us along -- for a while.

A film that strives to make you think, and even tug at your heart. But the central foundation of the entire enterprise is so shaky that the walls and plaster are falling down all around you, even as you’re trying to make sense of it all.

In this case, I have to say, the sense of boredom.

It does... apply Kitano's black-comic style to a different setting, and individual scenes sparkle with unexpected jokes, twists, and occasional cruelties.

It doesn't really hang together. And waaay too much style. Pity.

Some provocative filmmakers seem intent on irritating or turning off the audience. With Haneke, I get the feeling that once you understand what he’s up to, he’s glad to have you in on the joke. He certainly goes about executing it in a masterful way.

It’s half of a good movie, and another half that no one asked for or wanted.

It may have a good liberal conscience, and genuine sympathy for the rare perspective of a homeless person, but this movie is a fundamentally sentimental exercise.

In many ways the indie equivalent of your average multiplex action picture: fun and forgettable.

Tina Fey is in the film, for heaven’s sake, and I love her to pieces, but by now we know to expect something humdrum when she’s on a movie screen.

You just watch one carefully constructed but emotionally vacant image piled up on another - sometimes with regard to an overall effect, but often just for the sake of style over substance.