Slow and predictable, and the characters are so poorly written that its hard to react to them in any way.

If you think you've seen Imaginary Heroes before, you're right -- only it was called "The Ice Storm," or maybe "Ordinary People."

Completely lacking in imagination and purpose, this vanity project might suffice as a home movie, but it's hardly worth the expense and bother of seeing it in a theater.

A couple of heavyweight actors — Tim Roth and Cillian Murphy — get top billing, but this British drama belongs to young Eloise Laurence, memorable as Skunk, the diabetic daughter of Roth’s kindly solicitor.

Massoud and Scott make a live-action “Aladdin” succeed on a different level than a cartoon can — as a teary romance. “A Whole New World” is more moving than the original.

Dame Maggie is simply delightful (has she ever been less than wonderful?).

A supernatural horror-comedy that's frighteningly lacking in wit, John Dies at the End thinks it's "Buffy the Vampire Slayer" for dudes. But in its randomness, its vulgarity and its level of humor, it's more like the collected writings on the walls of a roadside men's room.

Allah made me funny - not.

That idea was fun once, maybe even twice, but by the fifth outing the formula has given way to preachiness and predictability.

Emancipation, which is an otherwise well-tread period drama about the horrors of slavery, features more of Smith’s rich emotionality and laser-focused intensity that he’s uncovered late in his career and that won him the Oscar for last year’s “King Richard.”

Ma is a much more enjoyable ride than the even more preposterous “Greta,” which got lost in undeserved self-seriousness.

Can't overcome the familiar, soapy script.

Perabo gives a fairly impressive and flashy performance, even when the script descends into melodrama.

Twinkles and glows, but all the surface razzle-dazzle fails to mask the emptiness at its core.

Nair makes Vanity Fair an elegant showcase for an unforgettable heroine.

Initially shows promise, but filmmaker Frank Cappello (the early Russell Crowe vehicle "No Way Back") gets bogged down when Slater becomes involved with Elisa Cuthbert, a paraplegic survivor of the shooting who wants him to kill her.

In this season of self-important filmmaking, it's nice to watch a movie that entertains while refusing to take itself too seriously.

An entertaining, well-made plea for tolerance told from the point of view of a 12-year-old.

For a film with the nuance of a nuke, Palmer’s by-the-numbers journey nods along like elevator music.

If you’re willing to overlook some monstrously big plot holes and logic gaps, this half-animated Chinese blockbuster is an agreeably bonkers, occasionally disturbing cinematic ride.

Solondz beats on abortion defenders, stomps on the pro-life crowd and finishes up by telling us there is no free will. If you want some easy laughs tonight you'd be better off curling up with some Kierkegaard.

Overlong and heavy-handed.

The film is one-sided and at times unfocused, but it makes a lot of sense politically.

What was great fun before is mostly mopey and depressing now. A hunk, a hunk of burning IP.

Après Vous arranges for a normal guy to get stuck with a blithering wreck. But whenever things threaten to get really silly, it pulls back.

If director Tanya Wexler occasionally wanders into excess cutesiness...she makes up for it with a surplus of eye-opening historical details and a refreshing warmth for all her characters, even the ones whose views are clearly on the way out.

There is not a second of “Grey” that isn’t totally predictable. You’ve seen every frame before, and done a lot better.

Has the kind of soulful subject matter that will strike some as profoundly emotional, but it gets a flag for roughing the tear ducts. This isn't football - it's cornball.