Lawless outback, shotgun-toting banditos and even roadside crucifixions somehow add up to an experience that’s about as thrilling as your average trip to the post office.

Altman and Rapp skirt the fine line between satire and caricature, stopping just short of ridiculing the women who pack Dr. T's office.

Thanks to Hudson and the other women, it's a moderately beguiling date movie.

Refreshing for its simplicity and its originality in a marketplace dominated by soulless blockbusters.

A collection of such dazzling digital illusions you can't wait for it to hit DVD so you can freeze individual images.

Coppola works in weird ways, but the real Versailles was so much weirder.

Weds half-hearted thriller elements to the self-absorbed, no-budget mumblecore films pioneered by Katz in efforts like "Dance Party, USA."

Despite Mulligan bringing her A-game, the film falls short of its potential.

Some bits are too stagy, but for the most part this long night feels like an interview that could have actually happened. Miller is so good - dumb, smart, wounded, wounding, a lollipop of sweet poison that you'd buy every day until it killed you - that you feel you not only understand her but all actresses.

There is more style here than story, but the style - slashing cuts delivered in queasy orange sunstroke tones, accompanied by the urgent bleat of the cellphone - is considerable.

The main attraction is little-seen archival footage going back 50 years, including scenes from the 1960s "Parades and Changes," with artful nudity that was praised in Europe but brought threats of arrest in New York.

So what starts out as fascinating sci-fi becomes just fi, and winds up pulp fi.

The bonkers ending will be a talker. At first, I was skeptical, segued to disturbed, and then thoroughly creeped out. It’s a wild choice, however, one with a hint of precedent elsewhere in the series. And it serves to differentiate what is, admirably, a highly deferential film.

With Frozen II, Disney has done the impossible: It’s made a terrific animated-musical sequel.

High praise for the movie Mother and Child: It's as good as a TV show. Although it's not as fine as HBO's "In Treatment," a show run by this movie's writer-director, Rodrigo Garcia.

Slovenian-born writer-teacher Slavoj Zizek, narrator of the movie "A Pervert's Guide to the Cinema," provides the most entertainment.

The movie grows steadily more arresting as it goes on and saves its best parts for last.

Soulful though the film is, melodrama gradually sneaks in, and then it takes over.

Sounds bleak, but turns out to be an absorbing and lively film.

A poignant, graceful little film.

Genuinely creepy Southern Gothic thriller that once again proves that in horror movies, sometimes less is actually more.

The result is inept, tedious kitsch that even at its best feels like John Waters minus the joie de vivre.

Carion, in his feature debut, means well, and his characters are lovable. But the plot is so predictable and sentimental that viewers are likely to lose interest before Sandrine and her goats walk off into the sunset.

Shamelessly contrived and manipulative, Tae Guk Gi packs a visceral wallop.

Rom-coms died because they weren’t very rom and didn’t have enough com. But Sleeping With Other People, which is both hilarious and emotionally alive, is as delightful as a first date that crackles with possibility.

The film is primarily interested in the music that accompanied this turmoil, which is a bit like covering the American Revolution with the focus on the wigs Washington and Jefferson wore.

It would seem no easy task conveying the essence of a bigger-than-life figure like Ellison in a 96-minute film. But Nelson, producer of Werner Herzog's "Grizzly Man," makes it look easy.

Wanted is like a 12-armed heavy-metal drummer after a case of Red Bull, flailing and thundering through two hours of impossible action.