Isn't great. But I had fun watching.

Vivid visuals can't save an insipid plot.

Essentially an hour-long monologue, but this talking head is so engaging that you can't blame director Lech Kowalski's camera for not wanting to stray from the late Dee Dee Ramone's party-ravaged face.

The filmmakers have an pleasurably accurate sense of the embarrassments that darken early adolescence and of the amazing cruelty of teenage girls.

A surprisingly edgy comedy.

An uneven quasi-weepie.

Although the film is, by design, an unwatchable mess on one level and its one joke about 8 mm filmmaking would play better as a music video or a TV commercial, there's no denying the crazed dedication to detail.

There aren’t enough movies in which Tina Fey fires an AK-47 while grinning maniacally. Whiskey Tango Foxtrot turns out to make excellent use of her established skills while revealing new ones: It’s “30 Rock Me to the Casbah.”

The film’s worst offense is that it works way too hard for it to be a light watch.

When the massacre starts, the movie gets better. But the methods of murder are, like everything else, awfully self-serious and limited to mostly just plain old guns and knives.

An above-average entry in this niche genre, wherein groups of working-class people band together against adversity.

A dismal, low-energy affair.

Page and Church work so brilliantly together as a comic team that it's worth enduring the leads' utter lack of chemistry together - not to mention the fact they're both wildly miscast.

As the movie's feet get stuck in its own misery, it made me appreciate "Trainspotting" all over again - its wit, how it moved, the way any outcome for its characters seemed possible.

A young Jack Nicholson might have pulled this off, but Jason Bateman is not Jack Nicholson. Pity the actor who thinks he’s edgier than he actually is.

Briskly effective, humanizing.

Coogan is often very funny as the libertine Raymond, whose real estate holdings made him one of the UK’s richest men at the time of his death in 2006. But tragedy simply is beyond his range at this point.

Safe in Hell doesn’t offer anything extraordinary in the way of skin or innuendo, but it’s chockablock with the kind of situations and characters that would be verboten on screen for nearly three decades commencing in mid-1934.

Well, nobody said The Grand was another "Best in Show."

It's good-natured myth-making cut into kid-size pieces.

Unfortunately, Albert is so good at being unobtrusive, he nearly disappears from his own story, making it hard for us to get invested in it.

Lighthearted and smart enough to be one of the best Altmanesque ensemble comedies of the last couple of years.

Though Human Stain is sometimes too chaotic and sometimes too neat, it boasts some of the best acting of the year.

If you're new to Kaurismaki, the film will make you a fan. If you've seen everything else he's ever done, the comedy will confirm your commitment.

There was no need to edit it in overly slick ways that often make the story line seem contrived, accompanied by gag-laden narration that frequently made me want to gag.

The finest 1947 boxing picture of 2015 is here: Southpaw, a film that’s gruntingly insistent on its clichés.

The Secret Life of Bees showcases Fanning, who is growing into an impressive teenage actress - even if a scene where she licks honey off an older boy's finger is, well, creeptastic.

Burton may give us a bland hero, a tepid love story and a muddled plot but, hey, at least he’s got a skeleton army doing battle with giant tentacle monsters at an amusement park.

Zellweger dusts off her Bridget Jones accent - and a constellation of annoying vocal and facial tics - for Miss Potter, an unrelentingly mediocre, TV-movieish biopic of beloved children's author Beatrix Potter.

If you're old enough to pluck gray hairs, you may find yourself rubbing away a few tears.

Najafi stages action scenes with an intense, queasy beauty and elevates what is in its outlines a routine crime drama to near-operatic proportions.

The script depends heavily on familiar stand-up comedy bits, but it's full of sharp wisecracks and slacker charm.

Even if Corben hadn't photographed Gatien with lighting that makes him look like a horror-movie villain, he'd hardly come off as innocent.

Though it tries — with a much too heavy hand — the new Evil Dead is far less humorous than its predecessor.

Love and Thunder is an urgent reminder that in order for the MCU to keep going, in an entertaining, soulful way, creativity and innovation is required. You can’t just say “multiverse” 1,000 times and call it a movie.

More than a few will agree with the penguins, who netted the film a PG rating with the utterance, "Well, this sucks."

Undercut by funereal pacing and an ending that seems more than a little contrived.

Difficult but rewarding.

A documentary in which George relates their stories with great charm and understanding.

Rescues a rarely performed tragedy and makes a brilliant case that it is the Shakespeare play for our time.

A Southeast Asian thriller that positively reeks of atmosphere - but is woefully lacking in narrative credibility or character development.

While Amen works as a history lesson, it's less effective as a thriller, since the outcome is sadly all too well-known.

Much has, and will, be made of the grisly scenes throughout the film.

This contemplative drama manages to dodge mawkish potholes to emerge as a strangely life-affirming work.

Quietly persuasive and very timely documentary.

An intriguing, if seriously flawed, film noir.

Sylvarnes, who scripted, directed, edited and photographed this amazing first feature, makes spectacular use of digital video.

Often, the movie feels like sitting through a college lecture class.

Filled with nostalgia for old Chinese movies, respectable performances and lively kung-fu slapstick.

You don't have to be crazy to sing like Larry "Wild Man" Fischer -- subject of Josh Rubin's reverential documentary Derailroaded -- but it helps.

Redmon makes a valid argument, but he belabors the point. Mardi Gras: Made in China would play better if it were more focused and less repetitive.

Of historical interest, although a more experienced filmmaker would have made more of the sudden rush of events - and avoided the temptation to put himself or herself into nearly every frame, as Grappell does.

Ruscio's script is grim and darkly funny, but the big attraction is Wright's right-on performance. She's an actress waiting to be discovered.

Claiming that from Korea to Vietnam to Iraq, the US government has misled the public - and the media - on the reasons for going to war.

Among the variations of gags from the original are a threesome involving Harold, Kumar and a giant bag of marijuana.

A lesson in the perils of trying to cram a hefty Canadian novel that spans decades into a movie running just under two hours.

On the plus side is a good cast, including Eddie Marsan and Helena Bonham Carter as Bernie's hapless parents and Stephen Rea as a sympathetic doctor.

The documentary does a superlative job of examining the half-century dispute over Chinese rule of mountainous Tibet.

Borderline clichéd, and it makes getting a US visa seem way too easy. But I can think of much worse ways to spend an hour and a half than watching this absurdist comedy.

The meditative Swedish movie The Anchorage takes minimalism to the maximum.

Compelling documentary.

Beautifully filmed and well-acted, "The Gift to Stalin," directed by Rustem Abdrashev, has its schmaltzy, cliched moments, including an unnecessary finale in Jerusalem.

Toggling between the tonalities of "Donnie Darko," "Ghost World" and the collected works of David Lynch, the blackly witty Daydream Nation takes its title from a Sonic Youth album.

The story has been brought to the screen twice before (once by Tsui), but this version is the first in IMAX 3-D, which is the main reason to see it.

The way the tightrope works is vague, but what the exercise shows is straightforward and marvelous.

The Maze Runner isn’t based on a video game, but you could be forgiven for thinking otherwise. In it, our hero must lead his comrades through a dingy gray concrete maze while dodging cyborg monsters, and it all looks like every gaming trailer you’ve ever seen.

In the last half-hour, themes start to gel. The final scenes are so good, even moving, that they make the earlier stuff look better. But a film concerned with the nature of emotion needs human engagement throughout.

The Nees lean toward the rat-a-tat comedy of “The Adventures of Tom Sawyer,” presumably knowing they can’t match the profundity of “Huckleberry Finn.” (Who could?)

It’s only fitfully entertaining as an all-star indie team led again by director Jon Favreau, who gets swallowed up by the same sort of overproduced overkill as “Spider Man 3.”

Some will accuse Our Friend of being sentimental, and it is, but not in an “Oh no! The golden retriever was kidnapped!” way. It’s subtle. The wisdom of Brad Ingelsby’s script is that Dane’s assistance is unnoticeable until very late in the movie. His acts of kindness sneak up on you.

Begins so briskly and promisingly to stumble aimlessly and flat-footedly to a surprise finale.

The fine supporting cast includes Steve Buscemi, as a cynical American doctor who at first doesn't get along with Rabe; and Anne Consigny, as the French head of a local school for Chinese girls.

Things are so dull, rote and humorless that when signboards in a European scene read "Mondiale Grand Prix," I at first thought they said "Mondale Grand Prix," which sounds like an unwanted award this movie could easily win.

The most entertaining 3-D movie I've ever seen.

About 30 minutes too long and somewhat clumsily executed, this zombie's-eye-view story still manages to evoke the comic and splattery spirit of the best '80s cult horror flicks (and features a car-horn shout-out to "The Lost Boys," to boot).

Director Adam Green's genuine affection for the genre helps make Hatchet a cut above average.

Based on a memoir by Nigel Slater, a British celebrity chef who makes a cameo appearance, Toast also charts the budding chef's growing interest in hunky, scantily clad guys. Be warned: Some of the regional British accents would benefit from subtitles.

A family getting evicted from its home is no laughing matter, except if you're watching Cirkus Columbia, a satiric comedy from, of all places, Bosnia and Herzegovina.

As frightening as it intends to be, but not enjoyably so.

Cold Pursuit is stark and refreshing, like taking an icy swim with the Polar Bear Club. A jolt. The movie makes you want him to stay around for a while longer.

The densely plotted Generation War sweeps past implausibilities and offers the can’t-put-it-down qualities of a superior airport novel; its last third is affecting. But a bold confrontation with the past? Not so much.

The Amy Sedaris comedy based on the failed TV show isn't the least funny film of the year - but for that it should send a thank-you note to "United 93."

The film achieves near-poignancy in its final act, when we finally meet one of the two elderly tipplers, plus a friend who occasionally stayed at their apartment and endured their shouting matches.

A summer delight that also provides a quick cultural education.

It's a credit to the actors, particularly the superb Campbell, that completely preposterous material can be made strangely touching.

The nearly two preceding hours often feel like three, as the patchwork script keeps introducing characters and subplots and dropping them, all while rushing characters through eye-popping environments.

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

Predictable.

Jarringly insensitive and amateurish debut feature.

The movie is about a situation, not a story — there’s little narrative momentum — and as is often the case with movies about journalists, the mood of smug sanctimony becomes unbearable.

Graham Greene's guilt-and-gangsters tale "Brighton Rock" gets an even more melodramatic telling than in the 1947 film version courtesy of first-time director Rowan Joffe, whose histrionic adaptation screams "student film" with practically every frame.

There is also something surgically sterile. The movie sounds as though it was recorded in a padded chamber instead of a bustling school, and it looks like it came from some alternate world, one that basks in the eternal sunshine of the spotless skin.

In the future, more and more filmmakers will do exactly what The Great New Wonderful has done: conceal their lack of ideas by bringing up 9/11.

A strained, ultra-predictable and headache-inducing mockumentary.

They don’t make ’em like A Walk Among the Tombstones any more. Mainly because everyone got bored with ’em and stopped watching ’em.

There's a pleasing tension in the air as their relationship comes to seem like something of a contest: With two women this needy, who will out-crazy the other?

It includes more than a few clever lines, and boasts a stellar cast, including the underutilized Diane Keaton.

If I were a member of Generation X, I would be fed up with Hollywood's obsession with the idea that its men are genetically incapable of growing up.