Comedy with a light-hearted flair. The cast is charming, and Garcia is especially easy on the eye.

Can't decide if it's a martial-arts thriller or a sappy soap opera.

This masturbatory exercise is the least revealing "documentary" since Jerry Seinfeld's "Comedian."

Excellent performances in an entertaining if less than totally plausible story.

A charming if overlong romantic comedy.

More frustratingly, Brooks jumps back and forth in time between the couple’s past relationship and the current day, with nary a physical or emotive change evident in either party. It becomes a task just to figure out which timeline you’re in, and then convince yourself why you should care.

DiCaprio may well receive a Best Actor Oscar for his tour de force as the conflicted FBI director -- greatly abetted by Hammer (who played the Winklevoss twins in "The Social Network'') in his first major role as the flamboyant but frustrated Tolson.

Loaded with improbable cultural references (Sherman totes a Stephen Hawking lunchbox and uses words like “eponymous”), I fear Mr. Peabody and Sherman may be a bit too brainy to fully connect with contemporary movie audiences.

Few documentaries have covered such an important matter so convincingly and with such clarity. When it comes to public education, we are all New Jerseyans.

Has its laughs, but pretty much every single one of them is in the trailer. And even more unfortunately, the improbable new romantic comedy team of Steve Carell and Keira Knightley works about as well as you'd guess - like oil and water.

I think I’d rather have the waterboarding than the movie’s bromides about how we’re all victims and hate must end.

If (like me) you have a parental obsession with brainwashing your children to adore everything from Sinatra to “Shake It Off,” Sing may be your most effective weapon since “Happy Feet.”

Starts out a lot like an expensive-looking episode of "CSI" before morphing into a solidly entertaining time-traveling romance.

The acting by Seigner, Marina Hands, Karin Viard, Patrick Bruel and other French notables is first-rate, although their characters and what they have to say are trite.

There are a couple of grams of interesting stories about Miami's drug traffic in Cocaine Cowboys, but the good stuff is cut with 50 kilos of cinematic baking soda.

The tone of The Playroom is one of soppy moroseness. This imitation “Ice Storm” is as refreshing as a step into a puddle of slush.

For the most part, however, “Deliver Me From Nowhere” is in conversation with where Springsteen’s mind and passions rest today, as evidenced by his memoir “Born to Run” and his introspective Broadway show — revisiting the mansion on the hill and returning to his father’s house.

Splashed with Monte Carlo glamour, physical comedy and nimble scams, the movie rolls along enjoyably to its goofy but endearing big scene: an homage to "Dirty Dancing."

Most of their scenes come off as low-stakes dueling stand-up routines, rather than a plot that builds.

Here, Ginsburg is just an idea, a symbol — a meme.

Run All Night is routine in its contours, occasionally sloppy in its editing and filled with the usual implausibilities.

Pleasant enough, with funny moments.

Too slow to be a guilty pleasure and too dumb to be an innocent one.

The rare sequel that is better than the original.

Though Mantegna can't quite lick the essential staginess of Mamet's adaptation of his play, even with lots of scenic shots of Lake Ontario, the performances are what one would expect with such a consummate actor in charge.

A movie more interested in shocking than in entertaining.

A beautifully crafted, white-knuckle, roller-coaster ride of old-school filmmaking -- the kind that believes that the less you show, the better.

It all gets repetitive, and after about the halfway point, you get the feeling that Myers and Co. don't know where to go next, and are making it up as they go along.