There is enough detail and psychological nuance in Mattson Tomlin’s clever script to make Project Power more intriguing than most of what Marvel and DC have to offer, even if it could barely match their catering budgets.

It tries to be an update of "Fast Times at Ridgemont High" crossed with "Pygmalion," but while it has some funny and even original moments, it's too predictable to be "all that."

There’s no better time than summer for a fun, brainless thriller. All you need is three key ingredients: a charismatic hero, a hateable villain and a snappy screenplay...Skyscraper, regrettably, cuts likable star Dwayne “The Rock” Johnson off at the knees by failing to deliver on the other two.

It's high-spirited, innocent fun.

Herzlinger is a flack, not a filmmaker.

It’s the wonderful performances by Bening and Harris that make this flawed, somewhat maudlin film worth seeing.

As for Hoffman, the shambling Everyman naturalism he shows here gives God’s Pocket an added elegiac layer that makes its bitter ironies that much more painful.

Everyone's Hero, a tame CGI cartoon for the simple-minded: the very young, the very old and Yankee fans.

Truthfully, it's all incredibly boring. Noé tosses in some dime-store existentialism ("Time destroys everything"), but this is a movie with not a whole lot on its mind except rank exploitation.

Risen veers so far off the Bible’s path that it might as well be a tale of this 13th apostle, called Marty, who was in charge of snacks and mini-golf reservations.

Transporter 3 is made for airplane viewing, and not just any airplane: an Eastern European one, on the flight from Hrubbishnik to Slutnya.

There are no surprises, but for once there’s a set of artsy millennial characters who feel like real humans, and Berlin looks great.

All of this is punctuated with refreshingly strange wit.

Ends up taking enough detours to keep DreamWorks' latest animated epic from striking cinematic gold.

After a dreadfully clunky start, Left Luggage picks up and becomes quite moving.

For a movie that's trumpeted as providing a probing look beyond the comic's onstage patter, there's an awful lot of onstage patter -- and what nasty, hateful stuff it is.

If you're able to check your brain at the popcorn stand, you'll stand a much better chance of enjoying this crowd pleaser.

None of Dunham's humor comes across, except when someone says, "And when you speak, your words are snakes I swat at with swords," which is hilarious, but not intentionally.

One of the highlights of Casino Jack is Abramoff doing dead-on impressions of Arnold Schwarzenegger and Ronald Reagan, among others.

In this new, totally unnecessary version of Dr. Seuss’ holiday favorite, the mean one (voiced by Benedict Cumberbatch) isn’t all that scary or cruel.

Nuanced work by the great John Slattery ("Mad Men") as an emotionally distant dad isn't enough to sustain more than sporadic interest in Brian Savelson's underwritten, slow-moving indie, which plays distressingly like a photographed off-Broadway drama.

An uninspired gay coming-of-age import from Germany.

Harrelson's charming flamboyance - seen to great effect in "No Country for Old Men" - is a great fit for Carter, who carries no small amount of self-loathing under his carefully coifed toupee.

Much of Finding Amanda doesn't stand up to close scrutiny, but at its best the still-boyish Broderick suggests his most famous character, Ferris Bueller, going through a midlife crisis.

Like the lovely indie "Weekend," this small-scale story focuses on a couple of days in a possibly blossoming romance. Unlike that movie, it's full of gender stereotypes and all-around bad behavior. There's no one here to root for.

Those flight sequences — first suspenseful, then euphoric — take you back to the classic “Dumbo” as much as they do to classic Burton.

It’s the first R-rated, woman-directed comedy in years! — here’s the rub: The funniest thing about it is the men.

Set in a bar that echoes the far superior "Big Night," this labored two-hander plays more like an acting exercise than an actual movie.