A campy docu-drama about the secretly gay world of 1950's muscle magazines.

Uncommonly well-acted and beautifully shot on location in southern India, but it's not exactly riveting.

Amateurishly written and directed, and so predictable that it hurts.

A boring, wincingly cute and nauseatingly politically correct cartoon guaranteed to drive anyone much over age 4 screaming from the theater.

Fresh off of winning the Best Director Oscar for "Nomadland," Chloé Zhao has upchucked one of the MCU's worst movies in ages.

Day’s performance is a beacon surrounded by mediocrity and mismanagement.

I didn't buy how The Next Three Days plays out - but I almost bought it, and that's good enough for a thriller.

This is a Disney adaptation, beautiful but frequently treacly.

Bidding to be the “Terms of Endearment” of zombie movies, Maggie sucks all the life out of an idea that just won’t die.

Has a few things going for it -- a winning performance by Luchini and a small role by Pedro Almodóvar favorite Carmen Maura. But these talented folks can't compensate for a plot that strains credulity and lacks badly needed social bite. Wait for the DVD.

No one loves a broad comedy like the French, but Gallic touches of restraint tend to keep such light entertainment pleasing rather than blundering.

A mild, slow-moving drama that belatedly tries to argue that graffiti writers are political artists, not an urban blight.

Take a stroll down London Boulevard if you enjoy surly, smart, hard-edged British crime movies like "Sexy Beast" and "Croupier."

These man-eaters are deadly, mainly in their ability to bore you to death.

Murder on the Orient Express has been . . . murdered!

Pigs fly and perform a Busby Berkeley-style water ballet. Maggie Gyllenhaal sports a posh British accent. Everybody steps in dung repeatedly. These are the high points of Nanny McPhee Returns.

More than just the portrait of a naive young woman. It's a frightening look at Putin's warped version of democracy.

Scored by Bruce Hornsby, Lee’s film veers all over the place tonally, juxtaposing scenes of spurting gore with soothing jazz. Hess’ WASP-y mansion, with its huge photo portraits of African warriors, is an interesting study in mashing up race and class stereotypes, though the film’s rambling plot may leave your brain feeling a little mashed, too.

Essentially a feature-length commercial for both the growing sport of competitive cheerleading and ESPN2 .

The dramatic history of the Soviet space program deserves a far more competent documentary than this amateurish Dutch production.

The best dance movie since "Flashdance."

A lush, genteel romance of the Merchant-Ivory school that qualifies as a guilty pleasure -- largely because of the unexpected chemistry between its improbably matched leads, Gwyneth Paltrow and Aaron Eckhart.

Konchalovsky, best known here for "Runaway Train" (1985), takes on a difficult subject with a light mix of dark humor and pathos.

Honestly, it's still pretty hard to resist as a guilty pleasure: A fluffy date-night movie that wrung a tear or two from more than one hardened male critic's eyes, chick flick or no.

You have to hand it to Huppert. She doesn't let the hokey plot and syrupy cinematography (what's with those repeated shots of flowers blowing in the wind?) keep her from giving a profound performance.

Less an adventure yarn than a character study of two old guys with fading memories and improbable dreams.

American Animal is a wildly experimental debut for D'Elia, who uses hand-held digital cameras and lots of jump cuts. It is well-acted and features witty repartee.

Scott and Balinska are capable, but bland. The actress who gets most in the oversize spirit of the occasion is Stewart, showing more personality and comic chops than she has before.