It's a wretchedly dumb, lazy and incoherent movie that's magically rendered watchable by Eddie Murphy's charm and Robert De Niro's presence.

This new low-octane version is hardly going to make anyone forget Robert Aldrich's semi-classic, testosterone-laden original starring Jimmy Stewart.

Tepid tale of star-crossed lovers in 1910 Wales.

Very sentimental.

While often diverting and physically impressive in an old-fashioned way, Hidalgo suffers from weird shifts in tone, offensively outdated stereotypes, a cumbersome subplot - and a supposedly fact-based story that bears only a nodding acquaintance with reality.

Thornton lends gravity, focus and humor that are otherwise in short supply in this serious-minded but meandering, talky and action-deficient epic.

Strident, unrepentantly one-sided but often entertaining.

Even for a surreal black comedy, Jesus Henry Christ requires massive suspension of disbelief.

Despite strong performances by Gerard Jugnot as the crime-busting prosecutor and Veronica D'Agostino as the adult Rita, The Sicilian Girl never lives up to its potential.

No worse and no better than the majority of chick flicks.

It is admirably unsparing and gloomily atmospheric. And I looked at my watch a bunch of times.

It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.

Strictly for fans of the musical acts and those who think everything Chappelle does is genius.

Few of the increasingly far-fetched events that first-time writer-director Neil Burger follows up with are terribly convincing, which is a pity, considering Barry's terrific performance.

The second half is therefore much more interesting than the first; even so, the whole movie suffers from a lack of narrative momentum and a surfeit of wordless shots of men exchanging deep, meaningful glances.

Osment, playing a fatherless 14-year-old, has entered the sort of awkward adolescence that afflicts so many male child stars - and seems utterly intimidated by his esteemed co-stars.

Even the great Helen Mirren can do only so much to elevate this relentlessly mediocre, fact-inspired drama.

De Niro gives a technically brilliant performance as Walt, struggling with a body that will no longer obey him.

The core problem facing the rather annoying new movie “The Fall Guy” — starring Ryan Gosling as a professional daredevil — is that we can’t believe. Never for a second does the viewer buy that goofy Gosling is an in-demand stunt person who sets aside his ego for the betterment of a project.

More a tribute to youth and its discontents than a fresh exploration.

The sleepy horror movie is an onslaught of spooky images that, while well-done, are watered down by sheer abundance. We stop being scared after the first 15 minutes because there is nothing new to see.

Deafeningly loud and proudly silly epic.

Director Peter Chelsom (“Hannah Montana: The Movie”) and screenwriter Allan Loeb (“Collateral Beauty”) squander countless opportunities to make this fish-out-of-water story intellectually curious or even much fun.

A warm-hearted and ambitiously honest look at the pros and cons of monogamy, but it tends to be understated to the point of underwhelming.

Basically a watered-down collage of scenes from "Heathers," "Clueless," "Sixteen Candles" and numerous other teen flicks.

Harmless if not exactly inspired, and rarely hilarious.

A challenging experimental film that will never play in a commercial movie theater and is settling in for a two-week run at the ever-venturesome Film Forum.

Ambitious, guilt-suffused melodrama crippled by poor casting.