Despite a sympathetic lead performance from Steve Carell, the fictionalized version bogs down in extensive animated doll sequences, so similar they grow increasingly tiresome.

It puts a conservative twist on Michael Moore-ism, with campy stock footage, deadpan humor, mocking musical cues and less-than-ingenuous questions.

Sadly, with the Soviet Union gone, the art faces a new enemy: Islamic extremists.

Basically a feature-length rock video from Germany with appealing performers, decently written characters, a killer score, and an interesting premise.

Hardly a deep examination of gender relations or character, but in its unsentimental way it's a tender and charming story of friendship and tolerance.

An extraordinary woman like Eva Kor deserves a less ordinary biography.

Every episode of "Law & Order" I've ever seen has a more complicated and plausible plot, punchier dialogue and more New York authenticity, all in less than half the time consumed by this poky would-be finance thriller.

Stewart’s restrained performance is affecting, the film seems well-researched about what it’s like to try to deal with Gitmo detainees who throw their own feces, and it isn’t as tendentious as the average Hollywood take on the subject.

While Greenwood and Posey turn on enough charm to make this a fairly painless experience, Zack Bernbaum’s And Now a Word From Our Sponsor is a mild, toothless satire — a “Being There’’ where there’s barely any there there.

Earnest and predictable, it's the cinematic equivalent of a pop hit by star Selena Gomez's boyfriend, Justin Bieber.

A surprisingly tone-deaf combination of two wildly different stories that simply don’t work in concert.

The tiny stage can barely contain Reno's gale-force personality, as she paces and rants a stream-of-conscious monologue.

The posthumous campaign to polish Michael Jackson's tarnished reputation continues apace with this Spike Lee infomercial, commissioned by Sony and the money-grubbing Jackson estate to promote the 25th anniversary of his 1987 album "Bad.''

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

A slick, shallow and thoroughly generic caper flick.

Deeply mediocre and ultra-predictable.

Ultimately, Birthday Girl disintegrates into a fairly routine -- and brutal -- caper movie.

An intermittently interesting drama.

The Manzanar Fishing Club has enough interesting footage for perhaps a 15-minute segment of a TV news magazine. Beyond that, my eyes started to glaze over with endless talk about rods, reels and bait.

What is Inland Empire - which Lynch is understandably distributing himself - about? What is it trying to say? If you figure that out, let me know.

The visual effects are amazing, but they don't make up for acting that is restrained to an uninsightful fault.

Some gut-busting moments, but for the most part the thrill is gone.

One of those films that takes up a potentially fascinating subject only to fumble it.

There have been worse horror flicks, but although this one offers a few scares, it doesn't have a lot of imagination.

An instant candidate for the so-bad-it’s-sort-of-great hall of fame, Jupiter Ascending is totally bonkers, a sort of black-velvet-Elvis mash-up of “Star Wars’’ and every other sci-fi/fantasy movie of the past half-century right up to “The Hunger Games.”

Mostly a second-rate action picture that's content to use apartheid as a colorful background.

Pleasing to the eye, with lavish sets, ravishing costumes and two great-looking stars. Unfortunately, there is little else to recommend this overwrought, melodramatic bodice-ripper.

Beyond the Ocean, which at its best is reminiscent of Jim Jarmusch's "Stranger in Paradise," doesn't integrate its two story lines in a particularly satisfying manner and the ending is somewhat abrupt.