This Michael Mann-directed film is full of Michael Mann-isms, many of them familiar from, and done better in, “Heat.”

A well-written and -acted drama that's also unrelentingly grim.

Eschews the heavy sexual content (and most of the clichés) of so many gay films -- it also has a lot of heart.

This long and overly genteel adaptation of Peter Cameron's 2002 novel never quite comes to a boil.

Christopher Plummer confronts Nazi horrors again in Atom Egoyan’s preposterous thriller, which squanders a terrific performance by the Oscar-winning actor.

Fay Grim is like watching stoners playing Risk and Clue at the same time.

Much sillier - and the movie's nearly two-hour running time seems to last nearly as long as a vampire's afterlife.

There are some charming moments and some funny scenes along the way. But you end up feeling sorry for the likes of Ron Howard, Karen Black, Fred Williamson and Peter Bogdanovich, who agreed to play themselves in cameo.

A lame teen comedy.

As the plot loses steam, director Mark Pellington (whose paranoid thriller "Arlington Road" was one of the worst movies of 1999) tends to rely on cheap tricks to maintain suspense, although the final catastrophe is very nicely done.

Tries to be many things -- romantic comedy, mockumentary, a satire on beauty and aging -- but ends up succeeding at none.

Purposely amateurish.

But a happy reunion can’t re-create the original’s spark, innocence and masterful comedy.

Even if Goldstein’s writing, in corporate parlance, leaves room for improvement, as an actor he’s “Office Romance”’s employee of the month. His honest, rough-around-the-edges TV persona from “Ted Lasso” wipes some of the vaseline off the camera lens. He draws us in with charm and mystery, and is both sensitive and unglamorous.

As in Allen's films, the extensive shooting -- mostly at locations in and around Central Park -- takes place in a whitebread world where the only person of color is Rosemary's nanny.

The low-low budget ($50,000) coming-of-age drama, shot on high-def video, is nothing if not daring and innovative.

There isn't anything especially wrong with Who Do You Love but there's nothing here that cries out to be seen, either. Read more: http://www.nypost.com/p/entertainment/movies/who_do_you_love_VZgyGvsv0ruc9teHrzQIlJ#ixzz0kcaj8Mwl

Ranks somewhere between the barely watchable "The Back-Up Plan" and the good but wildly overrated "The Kids Are All Right."

As Lydia Lunch of Teenage Jesus & the Jerks puts it, "They seem so desperate to be liked, desperate to have their music used in the next car commercial."

A rather unremarkable, if endearing, entry in the quirky rom-com genre.

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

Prieto does what he can to keep things roaring along, but the overall effect is not a lot more stimulating than your average diet cola.

Really, though, it is just another tiresome and impenetrably brooding Gerard Butler movie in which no event seems to matter any more than the next one — and grimaces are mistaken for drama.

Robin Williams’ last live-action film, Boulevard, is a frustrating ending to a stellar career, a cramped and melancholy film about a cramped and melancholy man.

A glacially paced, extremely moist, terminally gloomy and cliché-laden romantic drama with a supernatural twist.

Wind Chill is very much Blunt's show - there are no other major characters save Holmes - and she even gets to climb a telephone pole in her Prada heels. Brava!

Good-natured, lightweight fun, although clichéd and more suited to DVD and cable than the big screen.

There's nothing you haven't seen before - and better - in Deadfall, which would seem to appeal mostly to fans of snowmobile chases.