Everything uniquely special and hilarious about the 1984 fish-out-of-water hit is gone, replaced by commodity streaming mush that looks like every other ho-hum action-comedy right now.

Chop up the film’s segments, replay them in any order, and things would make no more or less sense.

The movie approaches the final scene with a straight face, but it left the audience giggling spasmodically. This script probably should have gone all the way and thrown in a few quips: If your movie is a joke, at least be intentionally funny.

Irrational Man is so clumsily staged and lethargically paced that it makes such clunkers as “Small Time Crooks” and “Cassandra’s Dream” look like minor classics.

This new movie features stylishly filmed and choreographed battles. But in between the set pieces is a lot of sentimental blather that slows down the film. More action, less talk should be the order of the day, but it isn't.

Feels like it was written and directed by an audience focus group in Omaha?

Has an awful title, a bland hero and a predictable story - but it also has a nice blast of English atmosphere.

Would be solid family entertainment if it weren't for the funereal pacing, which may kill its appeal among young audiences.

Amenta draws from the diary that Rita kept in the nine months before her death in 1991, interviews with survivors and news footage to tell a riveting and inspiring story right out of "The Godfather."

A very elegant and fit-looking Omar Sharif appears as the on-screen narrator and Kate Maberly ("The Secret Garden") plays his granddaughter in a framing story.

The Promise employs laughable computer effects and second-rate martial-arts fighting to tell the hard-to-figure story of a princess and her three lovers.

Although director J.J. Abrams tries his darndest to finish the job, conjuring up nostalgia like a TV medium, “Rise” doesn’t feel like the last chapter of the biggest American movie franchise. It’s just another well-made “Star Wars” flick.

A thoroughly enjoyable caper that doesn’t outstay its welcome.

An impressive experimental movie, is practically a one-man show by Yasuaki Nakajima.

It's a sly, low-key comedy in which he casts himself as a neurotic, self-absorbed curmudgeon.

The real coup de grace for this would-be serious-minded drama is the sledgehammer-subtle direction of Paul Weitz (who is also the screenwriter), who enabled his star's paycheck mugging in the execrable "Little Fockers."

A smug, deliberately convoluted mix tape of Tarantino, the Coen brothers, Guy Ritchie and Hitchcock with (mostly) a cast to die for, Lucky Number Slevin is great fun for, say, 20 minutes.

Gil Kofman has an interesting and funny story to tell in his documentary Unmade in China. Too bad he spends more time talking about himself than detailing his misadventures in Xiamen, China, population 3.67 million.

The paranoia is as thick and luscious as that Reddi-wip, and it's served from both left and right.

If it’s possible to make a morally old-fashioned film about teen orgies, writer-director Eva Husson has done so with Bang Gang, a quietly chilling look at the sex lives of a group of bored high-school students.

Annabelle Comes Home is so low stakes it’s barely a movie — more like a very special “Brady Bunch” episode in hell.

Head and shoulders above the sort of lightheaded epics Hollywood typically offers during the summer season.

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.

If you’re looking for a poverty-porn fix, Donnybrook ought to hit the spot. If not, you’ll likely find this a pointless exercise in gratuitous violence that imagines itself deep because it’s got an opera-heavy score.

Most of the dialogue is in English, almost all of the story takes place in the U.S., and there is none of the kitschy fun that gives Bollywood flicks their charm.

The kind of sentimental, upbeat and inoffensive children's entertainment parents always hope their kids will like.

It too often looks and feels like a high-concept home movie, thanks to cinematography that's crude and ugly even by the standards of documentary video. But Group is also a remarkably believable piece of improvised theater.

The performances are more than serviceable and The Fluffer is well-paced and engaging until the flaccid climax.