The frantic nuttiness of the stylistically dynamic Huckabees is often laugh-out-loud funny, but amid the pandemonium there's a sense of truly rigorous soul-searching.

So haphazardly written and directed that it barely qualifies as a movie, The House Bunny is watchable solely for the comic stylings of the blond veteran of the "Scary Movie" series.

Rendition has the depth of a bumper sticker without the brevity.

If the makers of Trolls must keep going, I won’t be present for the next entry unless it’s “Trolls Meet Smurfs.” With chainsaws. In the Thunderdome.

Would the Mayans have predicted the end of the world in 2012 if they'd known it would inspire not only "The Tree of Life'' and "Melancholia'' but an endless supply of more dreary depictions of end-times like this one?

This movie wasn't just made for 11-year-old girls; it seems to have been made by 11-year-old girls.

The film is narrated by Russell Crowe, whose star power is probably the only reason it's being released here.

Japan's Takashi Miike has the formula down pat, but Eisener has no idea how to give violence a touch of class.

If anyone in the store’s history ever had a bad experience there, you won’t find it in this movie.

Porno plus Parkinson's don't quite add up to sexy fun.

A chilling pulp movie told with a pavement-eye view of the dregs of humanity.

By far the film's most interesting subject is the king's eldest daughter, 18-year-old Princess Sikhanyiso, who likes to be known as Pashu. She's a self-styled rapper who goes to a Catholic college in California and acts like the spoiled rich kid that she is.

Johnny can't read, but he sure can rumba - and that's just fine with Take the Lead.

Young Goethe looks great, and the cast is appealing. But the story is riddled with clichés and fabrications.

Clandestine Childhood is the impressive first feature by Argentine director Benjamín Avila.

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

A sometimes insightful, sometimes absurdly devotional but steadily engaging film.

Though Valderrama gives a standout performance as the avenging Angel, brother of the late Jesus (Kareem Savion), two smaller roles are also worthy of note: Paz de la Huerta as a spacy bartender at Pianos, and J. Bernard Calloway as Dre, a bouncer who’s seen it all, and who can be reliably found eating a healthy salad as he sits outside his nightspot.

You could do worse for a date movie than Gurinder Chadha's campy, exuberant cross-cultural take on Austen's much-filmed 1812 novel.

A satisfying Irish stew made from very familiar ingredients.

Introduces a new Ferrara -- sophisticated and restrained. It's a look that becomes him.

Tautly directed by Kiefer’s longtime “24’’ helmer Jon Cassar, Forsaken greatly benefits from the poignant teaming of its father-and-son stars — as well as Michael Wincott as an especially elegant and eloquent gunfighter who has great respect for John.

A witty and wise midlife comedy, not only represents Peter Riegert's debut as a feature director but gives this gifted veteran performer his juiciest big-screen role in quite some time.

Redford's history lesson illustrates the old maxim that those who forget history are bound to repeat it.

Everything is still mostly awesome.

Jeff Goldblum is a hoot as Hatosy's pot-smoking shrink, who also happens to be his mom's boyfriend, but Dallas 362 is basically a road movie that doesn't really go anywhere.

An inoffensive but bland ode to the talky high school movies of John Hughes and Cameron Crowe.

The material, filled with peppy pop songs, is admittedly funnier than Murphy and his cast make it. Barry (played on Broadway by the brilliant Brooks Ashmanskas) was a riot onstage, but Corden’s bland performance is generically kind, fey and mostly joke-less. Someone like Nathan Lane would’ve made a meal of every line. That said, the story is more moving here than it was at the theater, which comes as a surprise.