Horn bookends his documentary with clips from "It Came From Outer Space."

Hard to say what percentage of Haynes’ adult audience will dig this one. I found it lovely to look at and emotionally underwhelming.

I loved both "Walk the Line" and "Ray," but it will be hard to watch either one with a straight face again after the skewering they get in this Judd Apatow production, which quotes scene after scene to hilarious effect.

Overlong but telling look at three young misfits.

Though shamelessly derivative and amoral, The Girl Next Door is nevertheless funnier and smarter than most of the pathetic dreck aimed at the nation's teens.

Loaded with dazzling ideas that don’t ultimately pull together.

Any prison-break yarn that includes Arnold Schwarzenegger delivering the line “You hit like a vegetarian” is OK by me.

Fans will love this quick flick by director Todd Phillips, but it better serves as an introduction for the uninitiated.

Lacks excitement, although its solid story makes for decent viewing.

Overall, Gibney does a fine job documenting the timeless nature of Armstrong’s fall from grace. It’s undeniably satisfying to see the man himself lay it out: “It’s very hard to control the truth forever,” he says, awkwardly. “This has been my downfall.”

Argento keeps the suspense level high while throwing in trademark cringe-inducing moments.

It’s told in a woefully pedestrian way, with talking-head footage forming the bulk of this slow-to-develop film. Still, it’s a creepily fascinating tale.

Imagine the French lesbian romance “Blue Is the Warmest Color’’ as a raunchy American exploitation flick with loads of fake gore. That’s a rough idea of the latest from Lloyd Kaufman, the exuberant shockmeister whose Troma Team is celebrating its 40th anniversary this year.

A cut above what you'd expect from the spinoff of a sequel.

This movie is never more than a one-liner away from sitcom, yet it goes down like ice cream.

Beautifully filmed, and the star-crossed lovers, both played by first-time actors, are a match made in art-film heaven. But I must admit, the pansori singer got on my nerves about halfway through.

But exciting as La Scorta might be, it is at heart a conventional thriller that breaks no new genre ground.

In Listen Up Philip, the tiny fury of Jason Schwartzman suggests his “Rushmore” character is now 15 years older and a middling Brooklyn novelist. His deadpan misanthropy is good for some acerbic laughs in a movie that starts appealingly but gradually comes to seem closed and stuck.

Poehler isn’t quite cynical enough to pull off a comedy in which, to paraphrase “Seinfeld,” there’s no hugging and learning, but Wine Country could have been improved by keeping its emotional scenes more in reserve — like a high-end cabernet.

This is one of those nature documentaries that’s pretty much solely interested in being entertaining, and so is cleverly edited to look like the linear story of a mother (dubbed Sky) and her newborns (Scout and Amber).

Pace and mood are equally glum, and so much information is withheld that the twisty relationship can’t build much tension.

In spite of (its) flaws, Fear of Fiction is an intense film with many touching and funny moments.

A must for hip-hop heads. Others will either be won over or left wondering what all the fuss is about.

Often less really is more, and that’s why I can recommend Planes, a charmingly modest low-budget spin-off from Pixar’s “Cars’’ that provides more thrills and laughs for young children and their parents than many of its more elaborate brethren.

I do get a chuckle out of movies with wildly inappropriate behavior, rude language and ultramayhem, especially when they involve children, but Kick-Ass 2 sometimes felt like being trapped in a room with the funniest guy in seventh grade.

The animation is also a hybrid: almost quaint-looking, traditionally animated characters plopped into elaborate, sometimes quite stunning computer-animated backgrounds.

Long stretches of Mike Figgis' film are jaw-droppingly pretentious or painfully dull... Nevertheless, there are clever, funny, erotic and visually beautiful moments scattered throughout the film.

Off-screen, Oyelowo moves the camera elegantly, and he creates a few cool moments in the woods.

Less Spartan than some films shot under the Dogma "vow of chastity" (there's actually a little music), but it's raw enough to complement the very real emotions on display.

Perhaps the most sobering statistic in The 11th Hour: Some 50,000 species a year are disappearing. Someday, it might be humans.

This strange and eerie noir is more a collection of knockout scenes than a fully realized story.

Makes about as much sense as most dreams. But that's to be expected, because the video feature is a series of successive dreams.

Ex Machina offers plenty of intriguing style but a spotty story line.

Max's even more fabled shoe phone also makes an appearance - and, fortunately for Get Smart, the self-deprecating Carell isn't shoe-phoning in his inspired performance.

A vast improvement over Schenkman's previous effort, "The Pompatus of Love."

Weitz keeps the schmaltz in check, but it's clear pretty much from the outset that this immigrant family is fated never to find A Better Life north of the border.

Marred by sappy fantasy sequences and a sentimental finale that's out of step with most of the rest of the movie.

Beautiful to look at, with scrumptious period detail and a knowing performance by Choi Min-sik as the portly, goatéed painter. At the same time, Chihwaseon is slow and stilted.

Boasts several fine performances and some elegant, eerie black-and- white photography.

Long on atmosphere and less sentimental about poverty than “Beasts of the Southern Wild,” the film carries a potent charge of authenticity.

A long way from his TV portrayal of John Adams, Giamatti seems to be having an especially good time as a splenetic King John, who would not be out of place in a Monty Python movie.

Director Tate Taylor is a childhood friend of Stockett and hasn't done much else, which may be why The Help feels clumsy but well-intentioned.

As an actress, Lopez is a bit stiff, as she has been in all of her movies save "Out of Sight." It really doesn't matter much here, given the sparks between her and Fiennes and the fact that the role is pretty much form-fitted to her public persona.

What’s strangest about this almost-comedy, though, isn’t its mish-mash of unlikely genres, but the earnest approach to them. “Apocalypse” begins as a “High School Musical” look-alike with poppy group numbers in cafeterias and hallways. One song, “Hollywood Ending,” is a dead ringer for “Stick to the Status Quo.”

Visually stunning.

Does it tug the heartstrings? Absolutely. Is it funny? The funniest of the quartet, in fact thanks to a weird new character. But Pixar, like its former funder Apple, has conditioned audiences to expect more than a nice little movie. We want to be amazed — not subscribe to Apple TV+.

Director Daniel Algrant chose well with Badgley, who transcends the rather made-for-TV vibe with a decent rendition of Buckley’s haunting falsetto.

Mirren maintains her class throughout Love Ranch. She may deserve another Oscar just for keeping a straight face while reciting a ridiculous speech about the Donner Pass tragedy on her way to a tryst with her character's lover.

Ends up feeling familiar.

To really pull off Greenberg would require a lead performance from a master actor. The actor it stars is . . . Ben Stiller.

Ach, Klaus, das ist funny! But Beerfest goes on too long. Take out 20 minutes of nonfunctioning jokes, and it would have given you a comedy buzz like four tankards of Lowenbrau.

Mirai is somewhat mired in outdated gender roles, with Cho’s character hopelessly clumsy as caregiver while his wife goes back to work. But the biggest pitfall I found with Mirai, which may be more of a selling point to new parents and children struggling with sibling rivalry, is that Kun spends half the film in tears, shrieking or whining.

An uneven quasi-weepie.

The sex is the main thing that makes Kiss of the Damned worthwhile.

Alan Taylor ("Palookaville"), an American, directs with a playful touch, and Denmark's Hjejle is far more assured acting in English here than she was in "High Fidelity."

The gags vary - a tattooed-breast mystery kinda sags - but there are lots of laughs.

This enigma-delivery system from a sharp mind has enthralling moments but becomes a bit enervating in its self-seriousness. By the end, the whole thing feels more academic than mind-bending.

Phoenix, who was so subtle in “Her” and brilliantly tortured in “The Master,” has lapsed back into the shouty bombast style of his “Gladiator” days, but his efforts to make the character seem layered are to little avail, especially given that Gray waits until the end to try to make him a tragic figure instead of merely a sleazy one.

The audio design of Little Joe is meant to be unsettling, but it may be for naught if audiences can hardly bear to sit through it.

Smarter than your average serial-killer movie, thanks to unusually fleshed-out characters inhabited by a high- pedigree cast.

La La Land deserves credit for high spirits even if it’s essentially a collection of glamorous throwback music videos for so-so songs.

Played with enormous charm by Samuel Lange Zambrano, Junior is a handsome kid.

The very effectiveness of After the Life's depiction of its main characters makes its immediate predecessor seem that much more of a waste.

This is a useful primer on what went wrong — and right — in 2008.

Even when scary, Murray is somehow funny, too, and he steals the show as always.

Rookie filmmaker Michael Maren’s script isn’t deep, but it’s heartfelt without being sticky, suggesting that the best way to deal with aging parents is to savor every tender frustration while you can.

Really, “Small Player” is a great movie until it abruptly isn’t.

Writer-director Greg Jardin’s seductive — if occasionally difficult to follow — movie is a wicked spin on a familiar tale: a group of friends spending a dramatic drunken evening in a big, luxe house.

A tad too long, and takes its sweet time to get to the point. But its twisted heart is in the right place.

As a spooky midnight movie, The Wolfman is worth curling up with.

Kicks into high gear in its final 45 minutes, when the singer's fans descend on one of her concerts. It's worth the wait.

Some documentaries are a fervent search for truth; others are a fervent search for snickers. This one is the latter, providing via interviews and old film clips a Greatest Hits for Bush haters.

It is hard to dislike such a wholesome, well-meaning movie, which has some very funny moments and a lovable cast.

If you can handle the glacial pacing and lack of dialogue, there is a certain squirmy satisfaction to watching this well-worn story of love, cruelty and madness play out minus the long-winded speeches and romantic catharsis.

The paranoia is as thick and luscious as that Reddi-wip, and it's served from both left and right.

While it is interesting to witness the conflict from the Palestinian side, Longley's film lacks balance (there's nothing from the Israeli perspective) and fails to put the struggle into meaningful historical context.

The addition of Glover and Danny DeVito keeps Jumanji: The Next Level afloat, even with barely the whisper of a plot.

Although mostly routine, Pet Sematary is intermittently scary.

Kevin Smith's Clerks II doesn't take much notice of anything that's happened since the 1994 original. It's occasionally clever and gets a few points for originality.

Very, very funny, albeit inferior in a number of ways to the original.

While there are laughs, the farcical elements of The Oranges are not presented with sufficient discipline to live up to the full potential of its cast. But as a seven-year veteran of the New Jersey suburban experience, I can testify that it nails the milieu's specifics.

Like most of Eastwood’s work (with the exception of last year’s disastrous “The 15:17 to Paris”), it’s a tightly paced feature, with strong performances all around. It’s also one of the season’s most politically polarized films.

The film is sober, honest and serious about an important subject.

Lakeview Terrace holds your interest, though the bad faith on all sides makes it something of an endurance test.

Entertaining but terminally dopey.

In the end (which continues into the credits), I was left thinking McDonagh can do better than this, and yet I was slightly more agog with admiration than peevish with frustration. Most of all, I wanted to see the film again.

Alternately fascinating and frustrating.

A brutal shocker that is difficult to watch.

Eschews the heavy sexual content (and most of the clichés) of so many gay films -- it also has a lot of heart.

Like "Beneath the Veil," it gives a human face to those who have suffered from the Taliban's tremendous cruelty, and those who have been maimed in the war to end their rule.

Though not as witty or accomplished as you'd expect from its pedigree, "Le Divorce" provides welcome relief from the lame-brained trash Hollywood has foisted on the public this summer.

A dry but enlightening documentary.

Fluffy, inconsistent, but enjoyable.

While Star Trek: Nemesis isn't nearly as good as the best Nicholas Meyer-written movies like "The Undiscovered Country," it is far from the worst, thanks to the topical issues it raises, the performances of Stewart and Hardy, and that essential feature -- a decent full-on space battle.

Overall, though, this new Peter Pan does really soar.

Director Ben Wheatley (“Kill List”) is masterful with arresting imagery set in a dystopian spin on the ’70s; less so with a compelling narrative.

Has funny moments, but it also has a lot of drag time.

The second half, though, is chilling, as the trio’s actions come into sharp, painful focus. Too bad Reichardt has no ending.