I only wish the Little laughs were bigger.

Modestly entertaining.

Tristan & Isolde makes sacking and pillaging about as exciting as the line at the post office.

With the exception of “Tape 49” — the Simon Barrett-directed segment about the PI — the films are ridiculously shaky, their camerawork so determinedly guerrilla-style that it’s difficult not to look away, sometimes at crucial moments. Found footage is all well and good, but if it’s unwatchable, it might as well have stayed lost.

I’d rather put Baby Shark on repeat all day than spend another 90 minutes with this adult horse.

There are no women or straight men left in Taipei. At least that's the impression left by Formula 17, in which every single person (except for one child) is a gay cutie.

This romantic dramedy tries to cram enough plot twists for a season’s worth of TV episodes into an hour and a half, but is still worthwhile for its fine performances, including the best work that Greg Kinnear and Jennifer Connelly have done in quite a while.

Superficial and hokey yet still oddly endearing.

Rock appears to have edited I Think I Love My Wife with a roulette wheel.

Apprently novice filmmaker Angela Ismailos' definition of a Great Director is one who's willing to sit or walk with her while she lobs innocuous questions and gives herself lots of awed close-up reaction shots.

The movie jogs along nicely without ever getting a case of the stupids; far from being a bloated “John Carter,” it’s just a pared-down yarn of survival: “Die Hard” on a planet.

Here’s some perfectly mindless couch viewing.

So eager to please, it practically licks you in the face.

Director Timothy Linh employs a delicate - but never sentimental - touch which, combined with strong performances from the principals and Kramer Morgenthau's vivid cinematography, makes for a transporting experience.

Remarkably sluggish and not particularly suspenseful.

I've seen three or four other movies by Miike, and I can tell you that he's one of the most exciting, versatile directors working today.

Might as well be called "Around the World in 80 Yawns."

It's an underdog story with teeth.

Argentina’s noir Everybody Has a Plan is as sludgy as the river delta in which it takes place.

If this overcooked version of James Ellroy’s novel - inspired by a famous 1947 Los Angeles murder - is less than fully satisfying or even believable storytelling and acting, it’s still possible to get a kick out of this fever dream loaded with eye candy.

More watchable for secular audiences than the handful of earlier films released under the Fox Faith label, this one actually has a sense of humor, a politically progressive point of view and a solid cast including the ever-reliable James Garner.

Tells us just about everything we might want to know about her - except why she did what she did. That important information will have to wait for another film.

There are a lot of casualties in this stylish, unoriginal thriller, but James McAvoy’s knee was the only one that moved me.

Given its obvious parallels with modern-day events, it’s a shame Felt’s ensuing story is so wanly told.

Freeman is Freeman, all homespun dignity. Surely it's time for him to play a saucy interior decorator or a crazed dictator.

Updates are fine for some stories. Not this one, though. Moving the action to a contemporary urban setting is akin to fitting a fairy with cement boots.

Offers a few laughs - and little sexual heat.

Say a prayer that there's no "Hatchet III" in the future.