It’s the wonderful performances by Bening and Harris that make this flawed, somewhat maudlin film worth seeing.

Overall We Have a Pope should prove a crowd-pleaser. Sacred music by the great Estonian composer is a plus.

Bardem gives such a brilliant performance in The Sea Inside, it's a crime that the film itself drowns in tears.

What keeps “The Lost Bus” from going full PlayStation — or full Brosnan — is a pulsing performance from McConaughey as a flawed dad desperately trying to reach his ill son (played by McConaughey’s own offspring, Levi Alves McConaughey) while saving the sons and daughters of others.

Mostly about extending a Hollywood franchise with ever-diminishing returns.

It Ends With Us is, despite its failings and indulgences, a highly emotional and absorbing couple of hours.

Not an easy movie to watch, and it's far from perfect - but it does have an artsy integrity and a fascinatingly intense performance by Paul Giamatti.

What is missing is any sort of psychological insight. Just what made Renato run? You won't find out here.

Somewhere on the axis where David Lynch, Paul Thomas Anderson and Joey Bishop intersect, a man in a Salvation Army tuxedo wanders the Mojave Desert supplying anti-comedy to every cocktail lounge and prison in his path. This is Entertainment.

Soulfully directed by Michael Cuesta ("L.I.E."), Roadie is short on narrative momentum, but it's a perfectly attuned character study of this rock relic and his middle-aged sorrows.

Light on dialogue and heavy on creepy atmosphere. See this movie and a visit to the tailor's will never be the same.

Where "Bridesmaids" tackled the subject of weddings and wrestled it in Jell-O, Bachelorette just kicks it right in the crotch.

At best, it’s a fairly enjoyable hate-watch of a farewell to DDL, charting the course of a twisted love affair between a real pill of a guy and a woman who inexplicably adores him.

The Other Woman isn't a perfect film, but it makes better use of her (Portman) talents than her other current movie, "No Strings Attached."

There is much more suspense in this sequence than a similar scene in last week's "The Sum of All Fears" -- which wasn't intended to be funny.

Prime date fare, but cotton-candy light and occasionally just a little too whimsical.

Unfortunately, you are often distractingly aware that you are watching re-enactments of real events.

Heck, it's great to have the big guy back.

Sensitive and sincere and has a talented ensemble cast.

The mild British wackiness is more droll than funny, but the movie is a pleasant cup of tea.

This jagged blob of a movie features a solo dance in the 1930s scored to the Sex Pistols' "Pretty Vacant," several scenes of a rich Manhattan woman chatting with the ghost of Wallis Simpson and a Sotheby's auction that draws a crowd reaction of the kind associated with "Family Feud." Yet I found the movie fascinating. Except for the boring bits.

For a bad movie, this one is an awful lot of fun.

Has some terrific aerial sequences and exciting dogfights. But the clichés in the script by Zdenek Sverak (the director's father) keep the film firmly grounded when the action's not aloft.

So daring and unsparing in its depiction of the psyche and experience of adolescent girls that it's hard to imagine an audience that wouldn't find it deeply provocative despite a slow pace.

Promising new writer-director Mark Christopher is like "Dollhouse" director Todd Solondz's more cheerful little brother.

The initial suspense of Cautiva gives way to sentimental clichés, but Lombardo's performance (including a daring nude scene) keeps us watching.

Viewers willing to accept the contrived plot at face value will find much to like.

Wants to be an epic in the mold of "Saving Private Ryan," but it's hindered by its modest budget.