Coarse, crude but often cute, The Big Wedding serves up the spectacle of its title, and the bigger spectacle of four AARP-eligible Oscar winners cursing like sailors.

This is more “Something Mild” than “Something Wild.” But Firth and Blunt handle their characters’ many revelations with care and play with layers of hurt and disappointment with great sympathy and pathos.

It’s just too much — too much graphic violence, too many plot wrinkles, too much stupidity, too many supporting players to track...For a movie as physically fit as this one wants to be, Pain & Gain is carrying way too much extra weight.

There’s nothing much new here, but the performances and the milieu make Filly Brown an entertaining, honorable installment in a story that is the American Dream incarnate, and has been ever since the first wannabe showed up on Tin Pan Alley at the beginning of the last century.

Beneath all the melodrama, beyond the fine performances, what sets At Any Price apart is the depiction of farming as it is today, the salesmanship, the traditions and ideals abandoned for greater profits and easier work and the ruthless world these patented “high yield” seeds have made.

It doesn’t trivialize Mud to label it Tennessee Williams lite — at least in its romantic notions. Nichols gets good performances out of one and all, but lets himself get so caught up in his sense of place that this potboiler hangs around more than a few minutes after that pot has come to a boil.

It’s too bad the muted Home Run didn’t take its own advice about being daring and inventive.

That doesn’t make Oblivion a bad movie, just a familiar one — generic.

Paris-Manhattan is an amusing little nothing of a movie built around the wit and wisdom of Woody Allen.

Scary Movie 5 comes up short in every way imaginable.

Earnest, righteous, historically accurate and often entertaining.

It’s a blunt instrument of a movie, and often melodramatic. But it sometimes moves and often hits its target square on the nose.

Is this Evil Dead (no “The”) any good? Yes and no. It several genuinely hair-raising moments and presents, for your edification and enjoyment, some of the most graphic horror violence ever presented on the screen.

Robert Redford delivers one last lecture on ’60s idealism and passes another baton to Shia LaBeouf in The Company You Keep, an engrossing thriller about the last anti-Vietnam War radicals still underground.

For all its plot trickery, mind science and relationship square dancing, Trance doesn’t have the emotional tug or technical pizzaz of Boyle’s best films – “Slumdog Millionaire,” “Trainspotting” or “127 Hours.”

The Brass Teapot stumbles into tedium, a parable that never quite resolves itself into the moral lesson it so desperately wants to convey.

Cranking out two formulaic movies like this a year show the Atlanta mogul’s true ambition — replacing all those soap operas TV is canceling, two hours at a time.

The diminutive McAvoy, trying his hand at all manner of action, may be hoping to become the Scottish Tom Cruise. But Welcome to the Punch shows he’s still more of a Scottish Michael J. Fox, an actor better served by roles with more charm and less grimacing than this one.

'Twilight' of the Body Snatchers, without much urgency or sexual heat.

It’s a live-action version of on an ’80s cartoon that was designed to sell toys. This is “Transformers” without the Bumblebee Camaro, a lot of action, a few one-liners, and a lot of gunplay.

Unwieldy, overlong and overly reliant on melodramatic coincidences, A Place in the Pines is still better than it has any right to be, thanks to its cast.

Potter’s film is at is most artful in the painterly ways she composes the wordless scenes of the girls testing cigarettes, hitchhiking with the wrong boys and Rosa exploring heavy petting with another boy, showing off for Ginger.

There’s a phone app that could text a funnier script than this.

Not every cute movie about the mentally ill is Oscar worthy, but this touching and riotous one from Down Under works well enough.

We’re reminded not just of sacrifice, but of those to whom service is a genuine calling and what that bandied-about word “hero” really means.

For all the bursts of blood, the gunplay and execution-style head-shots that punctuate scores of deaths, it’s hard to see Olympus Has Fallen (Secret Service code) as much more than another movie manifestation of a first-person shooter video game.

The first pleasant surprise of spring, a gorgeous kids’ cartoon with heart and wit, if not exactly a firm grasp of paleontology.

No matter how great her ambitions, no matter how little she was able to accomplish, thanks to the strictures of her time, here was a woman history remembers simply through the force of her personality and the simple courage it took to be ahead of her time.