An Aquaman sequel is reportedly in the works. The series already has a strong leading man and a feel for an epic. The filmmakers just need to find the heart of their ocean.

A Royal Affair is basically a good-looking set of historical Cliffs Notes. There, is however, one excellent reason to see it: Folsgaard, who by the end has made his betrayed and bereft Christian into a figure of genuine tragedy.

Mostly a routine love story elevated by one of the year’s most magnetic performances.

Tina Fey is adorable as a gulag guard who yearns to sing, but even better is Ty Burrell as a Clouseau-like Interpol inspector.

This only mildly bloated and convoluted action comedy has enough inspired moments to wipe out memories of the abysmal 2002 first sequel as surely as one of the black-suited heroes' neutralizer.

It busts the credibility meter early on, quickly becomes preposterous, and then really lets its imagination rip.

The kind of unsophisticated family entertainment they supposedly don't make anymore.

In a movie season - and a month - filled with so much gunfire, bloodshed and human despair, it's refreshing to sit back and bask in the sheer joy with which these brightly costumed, stunningly agile performers navigate fire, water and air.

The result is, alas, competent but unexceptional.

Buscemi is appealing as always, but the movie, is only sporadically funny.

The transition from the DreamWorks CGI version from 2010, one of the best family flicks in years, to real human actors is thankfully smoother and not as off-putting as most of Disney’s recent, pitiful princess efforts.

A relentlessly grim, rather heavy-handed drama of family dysfunction.

While some of this white guy's humor is juvenile and in questionable taste, Hoch, for the most part, is able to pull it off and supply a frequent number of laughs.

Twohy serves up a hard-to-swallow second-act twist and an unconvincing back story, but the slightly overlong A Perfect Getaway recovers with a pulse-pounding climax.

The conclusion feels too good-natured after nearly two hours of a minister who would need typed instructions to butter a baguette.

Far from perfect, but it holds your interest as a character study because of strong performances by Daniels and Stone.

Doesn't live up to the promise of its trailers.

As in Allen's films, the extensive shooting -- mostly at locations in and around Central Park -- takes place in a whitebread world where the only person of color is Rosemary's nanny.

There's nothing particularly startling or new in the script by Siegel and his co-writers Lisa Bazadona and Grace Woodard - except that it, refreshingly, draws its characters in real-life shades of gray.

Basically a PG-13 version of “After Hours,” with more than a bit of “The Out-of-Towners” thrown in.

It is engrossing, even funny at times, but it is a bit too jagged in execution to properly build to its tragic climax.

An appropriately respectful and dignified biopic.

The wry situational humor leaves less of an impression than the near-perfect sense of the heat-drenched wistfulness of summer.

Takes you on a fascinating and picturesque journey into a relatively unfamiliar culture.

It's a shame that, after nearly 40 years of writing about rock, Cameron Crowe is receptive to the clichés of the genre.

Jane's friendship with Sadie is the one thing that cuts through the numbness - though the film's so low-key, even emotional revelations feel pretty muted.

Well-meaning but flawed drama.

This promising premise is turned into basically an overgrown TV movie.