Devil, make a better movie.

The film as a whole goes from intriguing to irritating.

A raunchy, often hilarious satire from the Judd Apatow stable that lacks any real bite.

If you like Charli xcx’s songs and find her to be a unique and uncompromising presence in the often airbrushed world of pop, you’ll appreciate moments of “The Moment.” But that’s it. This is not a fully formed movie. At best, it’s a moderately intriguing pitch.

The Pretty One does find a handful of genuinely sweet moments in which Basel and Laurel bond on letting their respective freak flags fly. Like the film itself, Kazan is at her best when she’s not trying so hard to be cute.

The movie is smartly paced, and Sprouse (“Riverdale”) and Richardson make for one of the more adorable pairs in recent films. You not only want what’s best for them, but believe it can actually happen.

The film's leisurely pace and abstract format isn't meant for the multiplex crowd, but rather for adventurous moviegoers. It took guts to make Khadak and to give it a theatrical release. It might take even more guts to seek it out.

Proves, if anything, that sappy feel-good movies aren't restricted to Hollywood.

Being obvious nostalgia bait for children of the ’90s, director Rob Letterman’s film has no right to be as good or well-crafted as it is. The plot takes major twists that come as legitimate surprises, and seeing those old cartoon characters plopped into our world rendered in CGI is enormously satisfying.

O'Grady is very good, but she can't make the hard-to-watch Rid of Me dramatically credible.

Cheap, ignorant, tone-deaf and condescending, but what's strangest about it is that it actually thinks it's pro-soldier even as it portrays vets home on leave as foolish (Rachel McAdams), desperate (Tim Robbins) and dishonorable (Michael Pena) while playing all three situations for laughs.

The film’s cool-looking desaturated look (not unlike “The Road”), plentiful action and Washington’s charismatic gravitas as the taciturn hero make it relatively easy to overlook the pretensions and implausibilities in the script.

Baz Luhrmann's Australia has it all - unfortunately. With four major story lines and more endings than "The Return of the King," this ambitious 165-minute epic is the movie equivalent of an all-you-can-eat buffet.

Basilone’s movie becomes an intriguing puzzle that frequently bugs you, but you’re nonetheless determined to make it to the end.

Though the performances are uniformly good -- Adams is a standout -- the movie plays like one long, meandering sketch inspired by the works of John Waters and Todd Solondz, rather than a fully developed story.

Exceptionally intelligent and powerful contemporary adaptation.

The spaniel-eyed Jean Reno ("Ronin") infuses Hubert with a mixture of deadpan cool, wry humor and just the measure of tenderness required to give this comic slugfest some heart.

So eyeball-gougingly awful that you're tempted to give up movies for Lent.

Every once in a while the old-fashioned costume drama comes alive, only to sink again into run-of-the-mill special effects and long periods of talkative tedium.

Ultimately has a somewhat unfinished quality that complements the movie's themes -- and Hall's haunting performance.

Beautifully shot and well-meant -- but fairly snoozy.

There's no way to put this gently: Watching people slam their heels and toes on the boards while drifting around the floor is about as fascinating as watching the carousel rotation in your favorite microwave oven.

The kind of movie that cries out for the fast-forward button.

Tommy Riley is a ten-cent "Baby."

The best drag movie since "Vegas in Space." That's hardly a huge recommendation.

A cut above what you'd expect from the spinoff of a sequel.

Even at a cramped and frenetic 82 minutes, the movie feels long. That’s what happens when the audience can guess everything that’s going to happen in advance.

One reason it rings true is because the script is based on Gaglia's real experiences.