It may be impossible to make an uninteresting documentary about Hunter S. Thompson, but is it unfair to ask Gonzo for more Hunter and less Jimmy Carter?

Turns out to be a choppily written, unevenly acted exercise, no less shlocky and predictable than any of Hollywood's average second-string heterosexual comedies.

Familiar elements such as a dark family secret, a ghost and a Ouija board start to seem trite after a while, and the third act is a little ridiculous, but debut writer-director Nicholas McCarthy does a lot with a little and seems fully prepared to handle a big-studio horror project.

With uncommon ineptitude even by the standards of contemporary action flicks, Kyle's script submerges the inherently dramatic tale of the K-19 under a pile of clichés, while failing to tell you enough about the characters for their actions to make much sense.

Delivers one of those classic movie moments in which two screen legends go toe to toe, both barrels metaphorically blazing.

In attempting to dramatize their harrowing story in the film Thirteen Lives...the director doesn’t make quick, from-the-gut decisions the way that the intrepid team did. Instead, he takes a chill ride on the Lazy River.

Laughably predictable in its plotting, crude in its symbolism, ploddingly paced and often rendered almost comical by the heavy-breathing overacting of Johansson's supporting cast.

Anyone expecting a hard-hitting biography will be disappointed by Julian Schnabel's soft-edged, dreamy and relatively nonpolitical film.

The trouble is that the film also wants to make Kev at least partly sympathetic, despite his monstrous treatment of his son, and nothing we learn about him ever does, or could, accomplish that.

Disney's disappointing Atlantis, sadly, is a lot like much of the studio's recent animated output: eye-popping visuals and great vocal characterizations sunk by a dead-in-the-water script.

Has enough material to supply an entire year of a soap opera - in Inner Mongolia, that is.

The flaws of Flash of Genius are worth putting up with for Kinnear's committed performance.

Talky, overlong and, ultimately, just as predictable and repetitive as the maddening relationship it depicts.

A lean, deftly shot, well-acted, weirdly retro thriller that recalls a raft of '60s and '70s European-set spy pictures. There are even moments when you hope it could turn into a modern "Charade."

A sobering, if exploitative, portrait of the real-life hitchhiking hooker portrayed so realistically by Charlize Theron in "Monster."

An admirably realistic portrait of police life.

Despite inadequate editing and overreliance on bad background music, The Girl Next Door doesn't disappoint.

Kelemer doesn't offer anything that hasn't been done before in documentaries of this type. Still, Won't Anybody Listen makes for interesting viewing as a study of true-life underdogs.

The Nut Job has an interesting anti-socialist subtext, with the seemingly benevolent raccoon revealing himself as a power-mad dictator. It’s the most political non-Pixar cartoon feature since the very left-leaning “The Ant Bully’’ eight years ago.

The journey to this foregone conclusion features several dance-offs mashing up contemporary and classical styles, which director Michael Damian (“Love By Design”) shoots with gusto. Sure, this is all a familiar tune — but it’s still catchy.

Visually unimpressive and laden with awkward dialogue; its primary interest doesn't lie in its storytelling but in its sociology -- in the window it opens onto a Muslim Middle Eastern society in transition.

Doesn't do enough with a righteous premise.

Manages to entertain while saying something about loneliness and culture shock.

It’s involving, as biopics go, but the shattering debates that still swirl around Arendt’s view of the Holocaust are relegated to walk-ons.

If you go with the flow, there's seductive imagery and a terrific performance by John Malkovich as a decadent baron.

In his feature debut, Bormatov doesn't much bother with things like character development, relying instead on raw brutality, profanity and sex. It shouldn't be long before the Hollywood remake with Angelina Jolie.

Writer-director Keith Bearden was also smart enough to round up a couple of other old pros: Brian Dennehy, as the hero's eccentric grandfather, and Keith David, as a wise collector of pop-culture artifacts.

Still, the proceedings move so quietly and thoughtfully as to be occasionally somnolent, though they’re punctuated with spasms of the violence that marked the Troubles.