The overlong Amigo has its heart in the right place, but its approach to complex issues is too simplistic to win over unconverted minds.

The Last Circus features garish costumes, grotesque ultraviolence and plenty of other assorted weirdness. Although not everybody's glass of sangria, it has the making of a cult hit.

Feeble comic one-liners and slow pacing combine for a routine fangfest in this remake of the 1985 film.

It has a certain commitment to its cause, and by that I mean it supplies the necessary flayings, slayings, beheadings and, um, a be-nose-ing, all of it dancing to the tune of those amusingly stilted He-Man declaratives - King James Bible cadences applied to comic-book visions. It knows it's a B movie, and gets on with it.

I might be able to get past that if Hathaway and Sturgess had any chemistry. There are no sparks whatsoever, and that's always a deal-breaker for me in romantic films.

A daunting work that will please movie lovers willing to invest their time and intellect. Now I look forward to Fiennes' next project, a feature about Grace Jones.

Rambling, mildly engaging micro-budgeted indie.

Little more than a rehash of old news.

It isn't every day that one witnesses, via a camera mounted with the driver, some of the final images in a man's life before he crashes into a wall at enormous speed. Whether you'll feel good about yourself after watching is up to you.

Fine for fans? Sure. This stuff is crack for fans. Crack is really bad!

Final Destination 5, which, despite its lowbrow story, turns out to be one of the fastest-moving films of the year, is a suspenseful and macabre exercise in dread for the absurdly cosseted.

Gut-bustingly funny -- perhaps this waning summer season's ultimate guilty pleasure.

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.

It's basically left to the viewer to figure out the historical significance of this drug-fueled odyssey.

Tenderness and good intentions don't necessarily add up to a movie.

You'd be better off renting "Eddie and the Cruisers" (1983) than slogging through this latest, far more dire recycling of the same rock clichés.

A pointless drama that trafficks in cliché.

Brace yourself for an explosively brutal finale.

Sporadically hilarious but more often just plain crass and contrived.

They probably should have called it "Beneath the Dignity of the Planet of the Apes," but Rise of the Planet of the Apes is tolerable if you'll just keep in mind that the original feature was an overachieving B-movie.

Working from a 1982 novel set in Quebec City, director-writer Jacob Tierney provides enough thrills and surprises, even a little satire, to keep viewers' attention.

It's a clever concept that should play well on TV and the Internet. But as a big-screen movie, Life in a Day -- which lists brothers Tony and Ridley Scott as producers -- elicits a shrug and a question: Who cares?

The movie is more a situation than a narrative, and it's repetitive and depressing. One interrupter -- a murderer who did 14 years in prison -- says of the program, "In essence, it's just a Band-Aid." At best: One of his colleagues gets shot in the back for his peacekeeping effort.

You might be reminded of Jean-Jacques Beineix's 1981 thriller "Diva," which also involves crooked cops and Metro chases. But you need never have seen "Diva" to be captivated by the exhilarating Point Blank.

What follows is a hilarious, slam-bang series of chases and battles that cross "Gremlins" with "Assault on Precinct 13," the two most prominent of many genre films quoted by Attack the Block.

The omnipresence of oddity in The Future dilutes its charm: A T-shirt creeps around on its own, a little girl likes being buried neck-deep in the backyard. Whatevs.

How dark is this comedy? It's a big hit in Ireland.

Really it's just a trashy bid to be the "Scarface" of Mesopotamia.