Aims straight for the tear ducts as well, but this weepie is a dry well.

It also gives another black eye to Iranian fundamentalists. It is most unfortunate, then, that the film isn't better.

A sometimes eye-opening, if overlong, German-Swiss documentary on a holistic health system that's been practiced, mostly in India, for more than 500 years.

Has its moments, but overall it's depressing.

The unusually explicit dungeon scenes with Pablo, a leather daddy and a fellow slave may whip a rather specialized audience into a frenzy. But for others, A Year Without Love will be a less pleasurably painful experience.

Unremarkable and none-too-scary horror movie.

Some movies present their whole story in a two-minute trailer, but Gridiron Gang says it all in its poster.

Little is made of the cultural fusion aspect of their story, and ultimately the struggle-for-success tale is as homogenized as the music.

The opening and closing scenes are scary and should please fans of the genre, especially at Halloween time.

The script doesn't offer anything especially new, but Burman infuses the film with innovative lensing and capable acting.

Although the golden-hued cinematography (a filming cliché that really needs to be retired) and the sometimes slack direction by Marc Evans are minuses, Hunky Dory does deliver in the musical department.

Funny more often than not. Worth checking out on video.

Overall, everyone’s working far too hard at hitting their marks in this march toward a conclusion that’s both predictable and laughable.

Light, doggedly formulaic romantic comedy that's almost instantly forgettable despite the sunny presence of teen queen Mandy Moore.

A female revenge movie. But you could just as easily characterize it as fairly well-executed exploitation.

A lame comic tribute to the dwindling band of "Star Wars" aficionados, is one of those be nighted projects whose back story turns out to be significantly more compelling than the movie itself.

Screenwriter Tom Schulman, who won an Oscar for "Dead Poets Society," gives us a narrative reminiscent of a pup chasing its tail, as characters struggle to catch up with inexplicably chopping and changing motives.

Those confessionals can and should deliver an emotional wallop; however, Sara Colangelo’s direction isn’t skillful or nuanced enough to give the scenes power. The speeches from actors, such as Laura Benanti, about the worst day in all of these people’s lives feel too rehearsed and polished for us to believe them.

Basically "Jumanji" in outer space -- and even without Robin Williams, this is still a singularly loud, charmless and overbearing family movie that could use a hit or two of Ritalin.

There are a few interesting moments, but basically Up at the Villa is dangerously short of sympathetic characters.

Seem to have spliced together two different concepts which, on paper, may have seemed complementary but wind up giving the film a schizophrenic feel.

Basinger appears to be literally phoning in from another movie in the highly improbable, maniacally action-packed thriller-cum-comedy Cellular.

Sorry to Raid on your parade, “Ant-Man” fans, but the third chapter is a pile of dirt.

Basically a Lifetime movie that somehow found its way into theaters.

Good grief! This painfully sincere animated feature seems aimed less at contemporary kids than nostalgic adults who might buy toys marketed for what is being billed as the 50th anniversary of the Peanuts gang for their children and grandchildren.

Hard-core Hitchcock fans will not find much in the way of revelations.

Gould’s lugubrious presence is always welcome, and Rue plays her lovelorn part with verve.

Despite risible dialogue, Mercy is watchable because of Caan's physical presence -- and a couple of scenes with his real-life father, James Caan, as his cynical dad who pronounces that "love -- it does not exist."