A labor of love, Young Rebels is essential viewing for anyone who wants to stay ahead of the hip-hop curve.

The psychobabble makes for dry filmmaking until Schreber starts going fem. From that point on, it's every man for himself.

A decent idea for an episode of "Everybody Loves Raymond," The Do-Deca-Pentathlon falls short as a movie.

Wolfs, a so-called comedy written and directed by Jon Watts in which Clooney and Pitt play rival New York fixers tasked with discreetly disposing of a dead body, is a dreadful, laugh-free slog that tests the limits of what star power alone can salvage.

Dark, depressing drama.

Skarsgård is dangerous as ever here, but writer-director Dan Krauss’ drama offers very little insight into the minds of these men, and we’re left with no satisfying takeaway. It’s just one upsetting scene after another.

Bryan Cranston finally translates his critical acclaim for “Breaking Bad” into an Oscar-caliber performance in darkly comic Trumbo, playing an eloquent, witty screenwriter who bucked the Hollywood blacklist and triumphed.

A unique, priceless portrait of the now legendary leader, and of his beautiful country when it was in the grip of a disastrous civil war.

Smug, often tedious, and comically crude.

Light summer fun with a Flemish accent.

Wilde's masterpiece, The Importance of Being Earnest, may be the best play of the 19th century. It's so good that its relentless, polished wit can withstand not only inept school productions, but even Oliver Parker's movie adaptation.

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

Uber-hip technique triumphs over substance in Reconstruction.

When you make a film out of the greatest TV show of all time, there’s bound to be a hint of disappointment. What you’re getting here is a very enjoyable mob movie that can be appreciated by anybody, but will undoubtedly be preferred by Sopranos fans. The Godfather IV it ain’t.

Making a true story of social injustice into a gripping narrative requires more imagination than is contained in this well-intentioned but uninspired effort.

Let us now praise Anna Kendrick, who is positively great in the small-scale The Last Five Years — so utterly wonderful that this adaptation of an off-Broadway musical deserves better than a token theatrical release to support its distribution via video-on-demand.

Things go awry in the last act, as the movie stops dead for more songs and a tragic coda that seems forced and trite, rather than the three-hankie finale we've all earned. Still, Cumming is wonderful.

It’s a royal chore.

Fightville, you had me at "gladiator school."

Allied is slow-footed and tepid, its plot twists dopey and soapy. I was rooting for things to get interesting, but I would have settled for a few surprises.

The movie was always going to be a record of another unique New York institution, making way for another glass box.

As plodding and pretentious as it is ambitious.

All I wanted to do was escape from this aggressively ugly world and its equally unattractive characters. It's not that the movie is in bad taste or cheesy (though it is) but that all of its hyperviolence adds up to nothing: This thing is dedd.

As we learn, delightfully so, in Jeffrey Fox Jacobs' documentary A Sidewalk Astronomer, the Peking-born Dobson promotes the building and use of small, inexpensive telescopes to study the wonders of the sky.

The misleading trailers for the supremely goofy The Adjustment Bureau promise action-packed sci-fi. What you actually get is a love-struck Matt Damon running for the US Senate as he's stalked by fedora-wearing angels.

Should a serial killer blood-bath be so comfy and nostalgic for an audience? Not if it wants to maintain our interest. Over two hours, Cinco de Scream-o lumbers along with routine kills and few surprises even when it makes lame attempts at shocking us.

Following his triumphs in "The Constant Gardener" and "Harry Potter and the Goblet of Fire," Fiennes is superb as Todd.

The movie is one of the better pieces of family entertainment released so far this year.