The best thing about the film – which is true of most of his roles – is Rockwell.

Absent of any edge or layered characters, Wonka is at its most enjoyable when you forget the novel and classic Gene Wilder film and strap in for routine pleasantness.

It remains for a tougher documentary to more forcefully trace exactly who benefits from this shameful practice -- multinational corporations and consumers who don't ask enough questions.

Bad Moms is like “Sex and the City: The Sneakers-and-Minivan Years,” a good-natured girl-power comedy that balances a bland sitcom structure with some weird and hilarious moments.

A major disappointment, The Cider House Rules pales by comparison with the gutsier, more full-bodied adaptation of Irving's "The World According to Garp."

This is one horror film that could make the syllabus at Bob Jones U. The way the squid blasts its tentacles into doe-eyed girls seems designed to steer your daughters away from sex until they're about 40.

Seems afraid to cut loose in the manner of Robert Altman or Paul Thomas Anderson, so this labor of love suffers from an overly earnest and morose tone. Which, given the cast in Thirteen Conversations, is a real shame.

Kline's divine -- alas, the film isn't.

Funny and promising as the first act is, the entire second act is pretty awful, as the script chucks in one tiresome, unlikely gag after another.

Adoration, which hinges on a number of coincidences, contains some really fine performances.

Surprisingly enjoyable, as adaptations of cult comic books go, thanks to a sense of humor all too rare in the genre, winning performances by Ron Perlman and Selma Blair, and a sweet romance of the kind that made "Spider-Man" a richer experience than its competitors.

The dark side of pregnancy and motherhood has long been fertile filmmaking terrain; this queasy, quiet horror film tips its hat, inevitably, to the genre’s standard-bearer, “Rosemary’s Baby,” but comes up a bit short.

Chastain and Wasikowska take center stage while Hiddleston flutters around like one of Allerdale’s huge black moths. Watching the women square off within del Toro’s eye-popping, painterly palette is a feast for the eyes, if not particularly substantial fare for the mind.

A disarming but low-impact documentary that amounts to an odd dual biopic, Shepard & Dark can feel a bit like intruding on a conversation between two old friends.

The big new addition in Shrek the Third is Justin Timberlake as the high school-age future King Arthur, but if Timberlake contributed a song to the soundtrack it would have to be "WhinyBack."

Despite the underlying wretchedness, though, the characters exude a sense of having so little interior life that none of this, or anything else, fazes them. That’s disturbing, too.

Ultimately has a somewhat unfinished quality that complements the movie's themes -- and Hall's haunting performance.

Ted 2 has so many mo–ments of crazy brilliance that I laughed a lot, if infrequently. Is a ballplayer who whiffs four balls but knocks the fifth one 500 feet worth watching? I say yes.

iIt is clear that it would have benefited from black-and-white cinematography. And the melodramatic musical soundtrack is annoying and unnecessary.

The Road to Guantanamo is a missed opportunity. This is a subject that deserves a more thoughtful documentary or docudrama, not a hastily thrown together amalgam of the two.

Truth also ignores Rather’s famous showboating, pettiness and hubris. He’s worked in lower-profile gigs since, but trust me, there’s a good reason why no news organization will touch Mapes with a 10-foot pole.

There's an air of extreme predictability and inevitability in the script - which takes liberties like moving the climactic debate from the University of Southern California to the grander precincts of Harvard.

More funny than scary.

You certainly get your 20 bucks worth of spectacle out of Alice Through the Looking Glass. So breathtaking are the landscapes, so whimsical are the creatures, so marvelous are the marvels that I wanted to give a standing ovation to whoever signed the check to pay for all this. Expensiver and expensiver!

Del Toro has whipped up a monster that’s enjoyable enough to stare at, all right. And you’ve gotta admire his handiwork. What’s missing are what the Creature hungers for most of all — life and love.

Ultimately, I found the story surrounding Equity — that it is a movie about women on Wall Street, financed largely by actual women on Wall Street — more interesting than the movie itself, but it does contain its share of memorable moments.

Nine Lives hands the viewer a lot of work -- learning a whole new set of characters every few minutes -- for a disappointing wage. The bad stories waste your time, and the good ones leave you unsatisfied.

Annabelle is mostly a grab into the Great Big Bag O’ Horror Clichés: sound-bombs of shrieking violins explode randomly, doors slam unbidden, rocking chairs creak by themselves, machines suddenly whir to life.