Aside from a nifty new way to avoid surveillance in the middle of the desert, there's nothing here we haven't seen in many other movies - including "Spy Game," directed by Scott's brother Tony before 9/11.

There’s also a broader commentary here on the treatment of women, both in arranged marriage and in testosterone-heavy thrillers. Apte’s character stays largely an enigma throughout, but her palpable frustration with the men and culture around her — plus the chance to vicariously visit Goa, that jewel of an Indian seaside getaway — makes The Wedding Guest worth an RSVP.

A blackly funny provocation.

An anti-date movie if there ever was one, Teeth is a darkly engaging if uneven horror movie spoof centering on men's fear of castration.

The beefcake Swayze role, Dalton, is taken over by an intense Jake Gyllenhaal in this entertaining and, for better or worse, less mockable update of the cult classic.

The frequently funny The Grand Seduction is a thoroughly pleasant way to pass a couple of hours.

Comes about five films after writer-director-star Ed Burns should have found another career.

The pleasant but forgettable Adult Beginners strains a bit too hard for a happy ending, and tends to lay on the schmaltz and metaphors (like the swim class that gives the film its title) with a trowel.

Despite reams of maudlin narration, McKidd's powerful performance as a conflicted man makes this beautifully shot low-budget feature worth checking out.

Way too long, too convoluted and too peppered with title cards...Even so, it's hard to dislike Don Roos' "Magnolia"-inspired triptych of interconnected comic tales about lies, sex and video.

Rising star Michael Shannon makes a riveting shamus hired to chase a runaway husband in the quiet but resonant little noir The Missing Person.

Director Jay Karas doesn’t exactly reinvent the wheel as he puts this odd couple through the paces of getting in shape and reconciling old wounds, but he’s helped by some laugh-out-loud quirk in Gene Hong’s screenplay, nice comic chemistry between the two leads and supporting players like J.K. Simmons.

Ohayon doesn't judge Thompson or his customers, but you don't need to be a Harvard-educated psychiatrist to realize that the bunch of them are dirty old men who treat women as commodities.

Isn't great. But I had fun watching.

Vivid visuals can't save an insipid plot.

Essentially an hour-long monologue, but this talking head is so engaging that you can't blame director Lech Kowalski's camera for not wanting to stray from the late Dee Dee Ramone's party-ravaged face.

The filmmakers have an pleasurably accurate sense of the embarrassments that darken early adolescence and of the amazing cruelty of teenage girls.

A surprisingly edgy comedy.

An uneven quasi-weepie.

Although the film is, by design, an unwatchable mess on one level and its one joke about 8 mm filmmaking would play better as a music video or a TV commercial, there's no denying the crazed dedication to detail.

There aren’t enough movies in which Tina Fey fires an AK-47 while grinning maniacally. Whiskey Tango Foxtrot turns out to make excellent use of her established skills while revealing new ones: It’s “30 Rock Me to the Casbah.”

The film’s worst offense is that it works way too hard for it to be a light watch.

When the massacre starts, the movie gets better. But the methods of murder are, like everything else, awfully self-serious and limited to mostly just plain old guns and knives.

An above-average entry in this niche genre, wherein groups of working-class people band together against adversity.

A dismal, low-energy affair.

Page and Church work so brilliantly together as a comic team that it's worth enduring the leads' utter lack of chemistry together - not to mention the fact they're both wildly miscast.

As the movie's feet get stuck in its own misery, it made me appreciate "Trainspotting" all over again - its wit, how it moved, the way any outcome for its characters seemed possible.

A young Jack Nicholson might have pulled this off, but Jason Bateman is not Jack Nicholson. Pity the actor who thinks he’s edgier than he actually is.