A superficial documentary based on a best-selling book by Joe Conason and Gene Lyons -- which is being released just before the ex-president's memoir hits the bookstores.

Resolves the romantic dilemma in the most artificial and unsatisfying way. A blaring swing score and some obvious dubbing do little to ease the pain.

Most of the laughs are collected by Lucy Punch as chirpy, borderline-psychotic teacher named Squirrel.

OK premise quickly deteriorates into a silly, badly acted slasher movie -- minus the slasher.

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

An '80s coming-of-age comedy with more energy than ideas.

Haywire is a wannabe, or rather a wanna-B, and that B is for "Bourne." As each imitator comes and (rapidly) goes, my appreciation for the best superspy franchise deepens. Even top directors - in this case Steven Soderbergh - can't figure out the trick.

A loony con-job that comes up short on being convincing.

The horror flick 13 Sins is passable enough when it comes to dialing up the suspense, but the “Saw” formula of a mysterious voice guiding our hero through a series of depravities has gone a bit stale.

While recollections of the participants in the rescue are often riveting, the subject of Jonathan Gruber and Ari Daniel Pinchot's film remains elusively out of grasp.

Disappointing.

Cage is amusing though, and exemplifies the old stage wisdom “if you’re having fun, they’re having fun.” However, that’s the biggest problem for Renfield: Whenever Cage leaves the frame, which is often, we immediately stop having fun — as if Dracula commanded us to.

Directors Potelle and Rankin lack the skill to integrate the sometimes drastic shifts between comedy and drama - and the serious portions ultimately get short shrift, apparently at the behest of Miramax's marketing executives.

The documentary is much too conventional -- lots of boring talking heads, etc. -- to do the subject matter justice.

Yes, we remember one of the best movies of the 1990s, but the sequel is like the moment at the party when someone raises the shades and you realize that it’s blinding broad daylight, well past time to go home.

Fitfully amusing.

The cinematic equivalent of enduring a cross-country airplane flight trapped in a seat next to a manic depressive.

Entertainingly gruesome in parts, and not without a certain anarchic wit, it’s the kind of movie you pause to watch when it’s on TV, but after half an hour, you’ll click over to something else.

It feels like the brainchild of middle-aged guys (James Ponsoldt directed and co-wrote the screenplay with Eggers) who still think of Facebook as cutting edge.

The Lady and the Duke, which drags on for over two hours, is an experiment in shooting a period film on a shoestring that turns out to be more interesting than actually entertaining.

This may be the most politically confusing movie about that conflict since "For Whom the Bell Tolls" -- I couldn't for the life of me figure out where Escriva stood.

Unfortunately, Impostor doesn't do much with its template, despite a remarkably strong cast.

The movie itself seems equally divided between the sensibilities of hyperverbal writer Diablo Cody and music-centric director Jonathan Demme, and ends up falling into a muddy gap between the two.

Wiig and Adebimpe give appealing, naturalistic performances — it’s Silva’s character who grate.

Italian director Carlo Carlei has a background in TV movies, and this film, plodding and earnest, seems meant for the small screen, too.

A by-the-numbers follow-up to the highly successful 2005 feature that was no great shakes to begin with.

There's nothing especially new or interesting about the guests, the party or the movie. One bright note is Nicol Zanzarella as the elegant Susan, a freelance TV editor and co-host.

A messy, woefully uneven chick flick.