Eyes Wide Shut is Stanley Kubrick's Hindenberg.

One of those potentially interesting movies that takes its sweet time getting to the point - by which time many audience members will likely have bailed out or dozed off.

You gotta give credit to any first-time direc tor who attempts an homage to classic screwball comedies on a shoestring budget, even if Kettle of Fish ends up not exactly being the catch of the week.

Vincent D'Onofrio does capture Hoffman's charisma and nuttiness - and he's the only reason to resist the temptation to skip this exasperating movie.

You'll have to look elsewhere than this love letter to the Great White Way to explain why "Wicked" and "Avenue Q" became huge hits, and why "Caroline, or Change" joined "Taboo" as a costly flop.

Startlingly immature.

This is a single story that feels like a handful of sketches in need of more connection.

Dividing its loyalties between documentary and fictional narrative, it lacks the advantages of belonging to either side.

Boasts special effects that are really spectacular - too bad it lacks flesh-and-blood characters.

The performances are solid, but as a screenwriter, Guttenberg can't make the situation seem like more than a theatrical construct in a contemporary setting.

Performances are up to par, but the story unfolds conventionally - it lacks the fragmented fury of its predecessor. You might call it "City of God Lite."

This frigid and inaccessible period piece wears its glumness like a shroud.

Whatever message Brooks was trying to put across with Spanglish, it clearly got lost in translaaaaaaaaaaation.

Does not offer much in the way of exciting boxing footage.

Based on a memoir by Nigel Slater, a British celebrity chef who makes a cameo appearance, Toast also charts the budding chef's growing interest in hunky, scantily clad guys. Be warned: Some of the regional British accents would benefit from subtitles.

It’s somehow both too drawn-out and abrupt — but it’s got creepiness galore.

Uncompromisingly mediocre comedy.

There might be a great movie to be made out of the financial crisis, but 99 Homes, which is like being shouted at by a man with bad breath while he grips your collar with both hands, isn’t it.

The single theme is “Isn’t this cool?” And if your response is, “Well, it’s certainly loud,” then On Any Sunday probably isn’t for you.

It's a touching story that deserves to be told. Unfortunately, Slesin's presentation is conventional and uninspired (lots of boring talking heads). These heroes deserve better.

A well worn trope that’s tough to elevate beyond eye-roll level.

It says a lot about the sequel that the funniest moment belongs to none of the big stars, but to Owen Wilson.

The upper-crust British characters in The Little Stranger, the new horror film from “Room” director Lenny Abrahamson, are so rigid they make the Crawleys of “Downton Abbey” look like the Osbournes. The effect is occasionally spooky, but more often snoozy.

Should a serial killer blood-bath be so comfy and nostalgic for an audience? Not if it wants to maintain our interest. Over two hours, Cinco de Scream-o lumbers along with routine kills and few surprises even when it makes lame attempts at shocking us.

The film achieves near-poignancy in its final act, when we finally meet one of the two elderly tipplers, plus a friend who occasionally stayed at their apartment and endured their shouting matches.

A crock - a pandering epic that's as phony as it is condescending.

The first conservative documentary to join the bumper crop of liberal political films riding Michael Moore's coattails into theaters.

Though it contains some very funny, cleverly written comic sketches, Human Traffic shares with other drug movies the problem that watching other people on drugs is not interesting.