Only sporadically amusing. (review of re-release)

Even in an underwritten role, the delightful Madsen shines in her best performance since her comeback role in "Sideways."

At heart a cliché-strewn melodrama about a bunch of white, upper-class Manhattan kids who aspire to ghetto culture.

A not particularly revealing documentary.

Sweet but not especially original.

Bogdanich's film contends that the bombing of Yugoslavia by NATO in 1999 was the result of blunders by the West, and that the forces supported by the United States in Bosnia and Kosovo are allied with Osama bin Laden.

It is a truth universally acknowledged that Pride and Prejudice and Zombies is a pretty silly idea. So why on Earth is this movie, based on the satirical book by Seth Grahame-Smith, not having more fun?

The horror flick The Uninvited is not unclever - but it is unoriginal.

Watching this movie is like listening to Michael Jackson tell you what real men are like.

An ugly-looking mismash of a fairytale.

At one sip per cuss word, though, few viewers will still be conscious for the ending, in which the three cops finally come to the same place, each for an entirely different but equally ridiculous reason.

From time to time, it works.

Even Oliver Stone would giggle at the notion that the CIA couldn't reach JFK through any means except via one of his blond playmates.

Although the movie is reasonably suspenseful for a while and has a few witty moments (of a first draft, the ghost says, "All the words are there. They're just in the wrong order"), it rings false.

Cardinale’s few brief scenes are the ones with the most depth; her facial lines really did come along with some wisdom.

A genially silly gay date movie.

Men are pigs! Women are psychos! One-percenters have it coming! Pick your moral in this nasty, single-setting thriller that’s ultimately quite tame by the standards of torture-porn director Eli Roth (“The Green Inferno”).

At the risk of sounding 100, I think it’s regrettable this film had to be shot in digital 3-D. Both those formats actually do a frustrating disservice to the depiction of the action, making them look choppier, more flickery and occasionally blurrier than they would otherwise.

Holland lets things peter out midway, but it's notably better acted -- and far less crass -- than some other recent efforts in the burgeoning genre of films about black urban professionals.

Though it sometimes feels as if it's four hours long, Underworld has going for it an intriguing fantasy premise, an eventful plot and a look that is diverting, if finally a bit monotonous.

Directed by Maria Schrader, the film that’s part of one of the most reliably galvanizing genres — newspaper reporters doggedly chasing down a tough story — is a disappointing, sleepy metronome with made-for-TV diminutiveness.

As an exploration of post-traumatic stress disorder in US war veterans, the psychological thriller Jacob’s Ladder was ripe for an update. As a piece of enjoyable ’90s shock schlock, it maybe should have just stayed where it was.

Terrific performances by Kevin Bacon and Colin Firth as a comic duo clearly modeled on Jerry Lewis and Dean Martin get swallowed up in Atom Egoyan's muddled murder mystery.

Graham Greene's guilt-and-gangsters tale "Brighton Rock" gets an even more melodramatic telling than in the 1947 film version courtesy of first-time director Rowan Joffe, whose histrionic adaptation screams "student film" with practically every frame.

The Batman is the first caped crusader adventure in a while to come off as completely purposeless. Christopher Nolan’s movies reframed the comics as realistic, psychologically complex tales of an urban blight, and Affleck’s Bruce was built to fit into a wider DC universe. The Batman is here just to ensure that Marvel has box office competition.

A ho-hummer of a "Speed" knockoff that will leave most audiences cold.

In their overly earnest attempt to flesh Sendak’s story out to 100 minutes, Jonze and his co-screenwriter, novelist Dave Eggers, have laboriously spelled out motivations (divorce is bad!), elaborated back stories -- and added reams of less-than-inspired dialogue.

Divergent is a clumsy, humorless and shamelessly derivative sci-fi thriller set in a generically dystopian future.