These performances are beyond reproach, which makes it even stranger that the film never quite turns into the crushing experience it feels like it should be.

It's a funny and moving film about aging, but it's also a wacky journey across Iceland with two characters who are instantly likable and ultimately quite lovable.

Kat Candler has cobbled together an assortment of half-developed genre pieces that ultimately don't entirely gel. I think the elements work better as parts than Hellion does as a whole.

Life Itself gives measured and pragmatic reflection to many of the things that are most interesting about Ebert's personal and professional life.

Palo Alto is the sort of debut picture that makes me eager to see how Gia Coppola is going to grow and change as an artist, but it's more than just a demonstration of potential.

This is a sequel that has its own story to tell and that gets right down to it, and it expands on the ideas from the first film, but in a way that tells a thematically satisfying and complete story. In other words, this is how franchises are supposed to work.

It feels like the single most successful attempt to pull the shape of one of the beloved comic stories into the film world. It also feels like Bryan Singer has finally figured out how to shoot an action scene where the X-Men actually look and feel like the X-Men, and where the fantastic is handled the right way.

It's a feel-good story that raises cultural questions that the film doesn't seem terribly interested in answering, and it feels like an easy triple in the grand Disney tradition.

This could easily be ground zero for a whole new series of films, but if it remains a stand-alone single movie, Edwards told an entire story, and for the first time in as long as I can remember, it feels like Godzilla actually matters.

This thing swings from broad gross-out comedy to something that seems to be struggling to be a reflection of real life, and it never establishes a baseline reality. It is a strange misfire that is only saved from being a complete disaster by the efforts of the film's two leads.

If you can't handle extremes in your horror, Wolf Creek 2 is not for you. It is definitely ugly in places, and it wallows in it a bit.

By the end of this film, they've done a very good job of setting up the next three or four films in the series, but at the expense of this film telling any sort of cohesive story.

The sheer sly joy of the filmmaking that is on display here is one of the reasons I go to movies.

It's a completely average film that makes a few terrible choices.

There is nothing in this version that make any of this feel urgent or even important.

300: Rise Of An Empire is a worthy sequel to "300," stylistically consistent and equally loony, featuring what may well be the first truly can't-miss performance in a film this year.

It is safe to say that The Grand Budapest Hotel is one of those breakthrough moments, a movie that is so beautifully realized from start to finish that I almost doubted myself on the way home. Could I really have enjoyed that film that much?

The film plays with some funny ideas about time travel, and like any good time travel movie, it flirts with paradox and what happens when you violate the rules of time and space. It doesn't really go far enough with those ideas, though, and the end result is too often timid instead of brash and silly.

The film is loose and genuine and makes great use of place.

[Bateman] proves himself just as comfortable behind the camera as he in in front of it, and "Bad Words" is very, very good as a result.

As someone who enjoyed the show enormously while it was on the air, I am relieved to report that the film felt to me like it successfully recaptured the spirit of the show's first season.

Not only is it uproariously funny and almost breathtakingly dirty, it is better written than it needs to be on a character level, delivering completely on its premise.

Need For Speed is several different movies at once, and most of them are very stupid.

Captain America: The Winter Soldier is a tremendous piece of pop entertainment, smart and engaging and featuring a home run movie star lead performance by Chris Evans.

Darren Aronofsky's Noah is not just one of the most ambitious films I've seen this year, it's one of the most ambitious films I've ever seen.

There's a great sense of rot to everything as shot by Bruce McCleery, and David Sardy's score is propulsive and appropriately caustic. What ultimately works about Sabotage is the way it so unabashedly plays rough.

The script by Keir Pearson is admirably restrained in many ways, but it is also almost completely devoid of anything that would give the film the feel of actual life.

The film earns some big laughs, but it never sacrifices character for a punchline.