This bizarre little movie is all over the place as drama - but genuinely compelling as a one-of-a-kind piece of public self-flagellation.

It proves once again that it doesn't matter if the camera is dancing a jig on the ceiling if the storytelling is no good.

Excellent performances redeem Jordan Melamed's gritty teenage version of "One Flew Over the Cuckoo's Nest."

May be boomer-baiting formula, but this ingratiating, big-hearted holiday treat is as British as plum pudding - and the closest thing on the market to the famous Ealing comedies.

There's a winning emotional truth in the father-son scenes in this Spokane-shot sleeper, directed with skill and sensitivity by Jonathan Segal.

The Spandau Ballet documentary Soul Boys of the Western World has all the kooky clothes, zippy songs and ’80s optimism you could ask for in a film about a group that had only one big US hit (but several in the UK). Why do I find it hard to write the next line? The band wasn’t that great.

The overall effect tends to be as chilly and monotonous as Shannon’s demeanor as Kuklinski — a real disappointment.

For a film that takes place largely in a basket, Harper manages an epic mood. Nonetheless, you can’t help but feel swindled by Hollywood’s hot air.

The audio design of Little Joe is meant to be unsettling, but it may be for naught if audiences can hardly bear to sit through it.

The script is blaring and obvious at all times, and in his second directorial effort, David Schwimmer doesn't have a clue how dull it is for the audience to endure scene after scene of anguish, crying and screaming matches

Almereyda's muddled Happy Here and Now should have stayed on the shelf - where it's been gathering dust for several years.

The Rock is funny and charismatic in “Hobbs & Shaw,” and his bro chemistry with co-star Jason Statham is a joy. The pair slinging vicious insults at each other is almost vaudevillian — it would make a decent live tour. And then there’s the rest of the movie.

This is an exhausting, eyeball-gougingly ugly 90-minute assault of non-stop action, with an all-star voice cast shouting witless lines and a wide variety of objects lobbed at the audience in the crudest 3-D fashion.

Tabatabai delivers a strong performance and the script, although not always plausible, touches on important issues like bias against gays and Muslims.

Go for Zucker was a smash back home, where it was hailed as the first German comedy about Jews since World War II. But it will take more than that to make American audiences laugh.

How the feds inadvertently resurrected the performing career of stoner comic Tommy Chong by busting him is the ironic subtext of Josh Gilbert's one-sided documentary a/k/a Tommy Chong.

There hasn’t been this bizarre mixture of hooah and death since John Wayne hung up his combat boots.

Good value for the money, a funny, character-driven action comedy with three disparate stars -- who have great chemistry together.

The animation is also a hybrid: almost quaint-looking, traditionally animated characters plopped into elaborate, sometimes quite stunning computer-animated backgrounds.

The abysmal “Gucci” would get a better grade, perhaps, if it was a term paper titled “How to Make the Assassination of a Famous Person Boring.”

Luke Wilson, who has appeared in a long run of bad movies, seizes on his juiciest role since "The Royal Tenenbaums" here.

I’ve always had my reservations about Sorkin as a director. His scripts tend to be better than his final products. Those druthers started to fade with the moving “Trial of the Chicago 7” and are now completely gone after “Being the Ricardos.” His vision of ‘50s TV production is spot-on — nostalgic, quick, boozy, but without the glamor of Hollywood movie-making.

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.

In a nice change from Seyfried’s 2008 turn as the ingénue, we want to befriend James’ Donna, not mute her. She’s as gorgeous as she is committed, as funny as she is emotionally true. A big talent.

Schechter’s soul-scored film is impeccably styled for the time period, and its easy pacing reminds me of the gold standard for Leonard adaptations, “Out of Sight.” It’s not that good, but it’s within striking distance.

The cheesehead noir Thin Ice presents Greg Kinnear in a role that's almost too easy for him: He's a morally flexible Wisconsin insurance salesman for whom honesty is the least-likely policy.

Too much of the film is given over to the soap opera of Elmer's life.

It may have the faintest relationship to any kind of reality, but Jones' tart performance cuts through the saccharine.