As formulaic in its own way as anything mainstream Hollywood turns out, In Bruges is also a fish-out-of-water comedy.

Easier to sit through than the typical, earnest Christian movie.

Unfortunately, Angelou's detached and often superfluous narration lessens the film's impact.

There is nothing startlingly new in Resident Evil: Apocalpyse, but it is delivered with some panache and humor.

The debut film of Brandon Cronenberg deals out shivers and flinches in little hypodermic jabs.

Beowulf & Grendel has its moments, as well as its debits. Among the later is the grating Canadian accent of Sarah Polley, who plays a witch named Selma.

Simply not up to the task.

Starts out as a hilarious take on cop-movie cliches, then turns into Will Ferrell's own "Capitalism: A Love Story."

The New Black often feels like a polished but uninspired op-ed.

Rarely have filmmakers had a more wildly improbable happy ending forced on them. Well, you need all the help you can get, divine or otherwise, when your two stars - Drew Barrymore and Jimmy Fallon - have no chemistry whatsoever.

Unintentionally funny is still funny, and the documentary A Decent Factory, had me giggling.

You can't help wondering how prisoners who practiced Vipassana fared as free men.

Debbie, for better or for worse, is the high point of the entertaining but lightweight film, which is better suited to public TV than the big screen. Oh, yes. If anybody should decide to open another beauty school in Kabul, be sure to leave Debbie in Indiana.

The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.

Lee's framing device - which ends with a head-scratching fantasy - doesn't work. At. All.

Pours on creepy atmosphere, but this dud is too intent on delivering its liberal "message" to actually deliver the kinds of scares it promises in the terrific trailer.

Not unpleasant, but you've seen it all before.

Superficial and hokey yet still oddly endearing.

Ryan's heart is definitely in the right place and his film has good performances and flashes of talent. But, overall, it plays like the world's longest — over two hours -- after-school special.

Kids will get off on Bugs! and then go home and have nightmares. Adults who accompany them may have to fight off sleep before they get home.

Gorgeous location filming on Italy’s Amalfi Coast and a voice-only performance by the great Claire Bloom as an elderly woman remembering World War II are the main attractions in Kat Coiro’s familiarly snoozy romantic drama.

Heavy on slapstick and may appeal to very young viewers who won't need to bother much with the subtitles.

Too often content to smile beatifically instead of delivering the necessary thrills.

Return comes briefly to life when John Slattery of "Mad Men'' turns up as an acerbic yet sympathetic reclusive drunk whom Kelli meets during court-mandated rehab. But it's not enough for a film that limps along to a pretty much preordained climax.

Zoey Deutch is fine in a non-demanding role as the requisite starry-eyed female student, and Danny Huston (“Wonder Woman”) gives us a softer side as Richard’s weepy best friend. But this is, at its core, a one-man show, and given the uncertain future of Depp’s career (being axed from the “Pirates of the Caribbean” franchise, for example), it might also have been titled “Johnny Says Goodbye.”

Winning performances by Roger Rees and Mary McDonnell, as well as colorful Virginia locations, lift Crazy Like a Fox slightly above the TV-caliber script by its director.

Plays to none of Rock's strengths (even though he co-wrote the film with members of his HBO team) and intensifies his tendency to mug and shout.

The writer-director, who goes by the name J Blakeson, keeps the suspense level high for the first hour or so, but he then indulges in a few plot twists that strain credibility.