Tries, with much less success, to do what "Witness" did in exploring an Amish town.

While the performances are often engaging, this loose collection of largely improvised numbers would probably have worked better as a one-hour TV documentary.

A self-indulgent chronicle of Chris Roe's whiny power struggle with his father over where to eat dinner in various exotic locales.

It's often hilarious, and there is lots of the zippy, apparently improvised dialogue that made "Swingers" such a pleasure.

Does not offer much in the way of exciting boxing footage.

When it was first performed in theaters a couple of years after the L.A. riots took place, Twilight: Los Angeles must have been very powerful. Unfortunately, director Mark Levin's filmed version lacks that impact.

At some point, all this visual trickery stops being clever and devolves into flashy, vaguely silly overkill.

Bell has added unexpected shadings to what could have been simply a sordid tale of highway prostitution, gradually revealing surprises to the characters that keep a murmur of unease thrumming throughout.

It's skillfully rendered fun, but don't expect to remember much the next day.

Everything is predictable three scenes in advance, and it's all stale, stuck, stolid.

You care for these warriors, no matter which uniform they're wearing. I don't know Taub's intentions, but The Fallen makes a potent antiwar statement.

The blend of coming-of-age and coming-together in director Fernando Grostein Andrade’s film is a poignant one, regardless. The lessons Abe learns about life through Chico and his inventive cooking are made all the more beautiful by how tasty and colorful the food looks. And with Schnapp’s work in the title role, I found myself believing that a 12-year-old Brooklyn boy just might be able to solve the world’s thorniest conflict with an appetizer.

An enjoyable mix of tragedy and comedy.

Carell’s niche right now isn’t awkward anchormen, but parents going through hell. He makes a believable dad to the equally moving Chalamet, who writhes, screams and cries, but never showboats. The perfect pair is better than this movie.

Slyly funny.

This belabored movie, which is much more serious than its predecessor and takes nearly an hour to take off, feels like it lasts a Day-O.

Who gets to say what art is? Does honest emotion count for more than cold abstraction? If Andy Warhol likes it, does that make it OK? Big Eyes toys with some amusing ideas, and that’s enough.

It's a simple tale of father-and-son bonding that director Huo Jianqi injects with a quiet power, and it benefits greatly from the gorgeous lushness of its backdrop.

Let the French stick to love stories and leave stupid comedies to Tinseltown.

Not that a film as taut and exciting as this one needs punchy dialogue, but Black Sea has that, too.

Curious George skews very young, but parents should be warned that it arrives not only with the worst ad slogan in recent memory ("Show me the monkey"), but a full line of plush toys and related tie-in merchandise.

Klown turns out to be one long, brutal life lesson for Hvam's hapless character until it finally crosses the line into just plain creepy at the end.

Vogt-Roberts never develops the characters enough to make us care whether anyone lives or dies and never whips up even a flirtation between Hiddleston and Larson.

Emotionally honest, feel-good saga with a universality that stands out in a season of singularly depressing and cynical Hollywood product.

Seems more like a merchandising ploy than a successful attempt to entertain kids and their parents.

The picture is smothered by solemn right-mindedness, and hobbled by scripter David McKenna's simplistic, knee-jerk liberal take on suburban white racism.

Uneven, self-conscious but often hilarious spoof.

Overlong but telling look at three young misfits.