District B13 looks great, but don't let those subtitles fool you. At heart, it's every bit as proudly dumb as its American counterparts.

Pleasant enough, with funny moments.

Unbroken, is a cinematic scrapbook, a collection of well-composed scenes practically cut and pasted from “Memphis Belle,” “Chariots of Fire,” “Life of Pi” and “The Bridge on the River Kwai.” Unlike those other films, though, Angelina Jolie’s second effort as a director is more a series of similar events than a story, and lacks an underlying message except that torture hurts.

Was Alma a masochist? Repressed? Neurotic? A pre-feminist? Don't look for insight here.

Brabbee, artistic director of the Nantucket Film Festival, is to be commended for her dedication to this project, but the film isn't hefty enough for a theatrical release. Public TV would be a better showcase.

Amusing without being particularly biting.

To put it as positively as possible, there's never a dull moment in this flick - and that's not something you can take for granted at this time of the year. At the same time, though, there's rarely a believable moment in the script.

Darkly funny (par for the course with Miike), visually stunning and full of references to other films.

Things move so swiftly and confusingly that there's little time to explore any of the people in depth. Less style and more substance is definitely called for.

Sometimes painfully sincere male weepie.

It's always enjoyable watching Depardieu and Deneuve, but they deserve better material than they've been given by Techine.

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

Wraps a sari around the kind of suffering-housewife picture that became a cliché 30 years ago.

The stalker-enabling menace of Facebook is largely abandoned by midpoint, and Brief Reunion won't even prompt most people to change their privacy settings.

Sporadically entertaining, occasionally quite funny.

Not entirely bereft of chuckles, though it misses one comic opportunity after another (the best jokes are in the trailer).

James Van Der Beek plays the same suspect over a 50-year period, sporting some of the worst old-age makeup in memory in the present-day sequences.

Writer-director Patrick Hasson whips up a surprising amount of fun.

You can't get much more perverse than asking Julia Roberts to wear fright wigs, do her own frumpy makeup and costumes -- and then shoot her scenes in eyeball-gougingly ugly digital video.

Robin Williams’ last live-action film, Boulevard, is a frustrating ending to a stellar career, a cramped and melancholy film about a cramped and melancholy man.

Hugh Jackman appears briefly as Sophia's Aussie boyfriend, and gets to perform a lively song-and-dance number. But for some strange reason, his name isn't in the credits.

Besson is unable to weave the comic scenes together with the serious gory ones, so both seem increasingly jarring and unbelievable.

Writer-director Todd Robinson is the victim of his own noble intentions, turning each and every moment into an ice bucket of sentiment.

Delivers an important message, and its underwater photography is breathtaking. But Stewart lessens the impact by focusing much too much on himself. Did he really have to go into detail about his own health problems? This should be a movie about sharks, not Stewart.

Since this low-grade comedy doesn't really even attempt to be funny, the purpose of the movie is to establish (or reinforce) a feeling of luxurious old-timey melancholy.

The film achieves a mild uptick in the final act, with a surprise change of heart and a race to save a little girl, but up till then it's thickly earnest -- a conquista-bore.

Johansson never looked more beautiful, nor gave a lamer performance, than in A Good Woman.

The film isn't remotely scary. That's a shame, because it has top-notch performances by Peter Mullan and David Caruso.