The duo’s journey is gripping, but long stretches elsewhere in the film drag and it feels much longer than two hours.

A black-and-white fantasia shot against a bright backdrop of famous sites, and it has potential to be a cult hit on its dreamy-hipster look alone.

Yet while Nemes criticized “Schindler’s List” as “conventional,” all that’s new here is the hyper-realistic technique: Saul’s quest is not very far from the girl in the red dress.

Disaster movies, from "The Poseidon Adventure" to "Towering Inferno," are impossible to take seriously and "Day" is no exception - it's simply a fast-moving pageant of end-of-the-world eye candy.

An extremely well- acted thriller that simply fails to thrill.

Despite the attention focused on New Orleans these days, though, the film won't win many new converts. The musicians swear this is dance music, but the beats are far too ponderous to get a rise out of the hip-hop generation.

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.

Formulaic but entertaining, My Best Friend climaxes with a lengthy, surprisingly heartfelt sequence set on the French version of "Who Wants To Be a Millionaire."

As well-worn as it may be, Comer reliably freshens up every project she touches and makes otherwise cold scenes sizzle.

Any Christian movie dealing in miracles is likely to be too sweet for some but this one is gently moving rather than pushy about its religious elements.

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

The film is worth watching if only for Kim, who before this had never seen a movie, let alone acted in one.

Where Anonymous has it all over "Shakespeare in Love'' is its detailed evocation of London from four centuries ago. The rowdy audience for Shakespeare's first works at the Globe Theatre is especially colorful.

There's plenty of smash, thunder and brawl for the kids. But in taking a bit of Hulk and a bit of Superman while re-imagining Excalibur as a hammer, Thor amounts to putting new horns on old ideas. And the screenplay sounds like the lyrics of Spinal Tap.

This serviceable remake sticks fairly closely and smartly to the same plot, with the same scary objects and even the line, “They’re here.”

This romantic dramedy tries to cram enough plot twists for a season’s worth of TV episodes into an hour and a half, but is still worthwhile for its fine performances, including the best work that Greg Kinnear and Jennifer Connelly have done in quite a while.

It's only because the performances are so vividly entertaining -- Mandvi and Puri are particularly good -- and the painstakingly reconstructed locations so lovely that the saggier sequences are tolerable.

Baz Luhrmann's Australia has it all - unfortunately. With four major story lines and more endings than "The Return of the King," this ambitious 165-minute epic is the movie equivalent of an all-you-can-eat buffet.

This is, by some distance, the best movie of the three, and it showcases the impeccable symmetry of his compositions, while retaining his compulsion to wag a finger in your face.

One of the most thrilling - and authentic - mountain-climbing films in recent memory. Unfortunately, it's also burdened by one of those every-line-a-wretched-cliché Hollywood screenplays.

Its sentiment is appealing, though, and its sincerity doesn’t cloy.

A lavish biopic that gives Li one of his juiciest roles but is relatively light on the action his fans have come to expect.

It's sort of like last year's "Blue Valentine" on Prozac -- the giddy highs and the despairing lows are muted, and a well-known side effect of that antidepressant pops up, too: Palpable lust is all but nonexistent.

The Good Dinosaur is no instant classic like its sublime predecessor “Inside Out,” but is modestly pleasing in its own way.

An intriguingly Hitchcockian premise gradually takes on a preposterous air in the art-world noir The Best Offer.

Has a certain dark charm if you can put up with very jittery camera work and editing.

Although the film can be a tad unrelenting, it’s highly watchable.

There are some zippy chase scenes and shootouts, and tension throughout. But the characters — especially the lethargic Affleck — make for more of a C-Team than an A-Team.