Amusing and informative (and hyperbolic) as it is, All In: The Poker Movie is a documentary whose intended audience is unclear.

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.

So slow the movie itself seems to be suffering from a hardening of the arteries.

This crude, deeply dishonest documentary does no such thing. David Russell's fictional "Three Kings" does a much better job.

This morbid and self-consciously literary adaptation of E. Annie Proulx's Pulitzer-winning novel is no crowd pleaser.

An unholy mess.

Wildly uneven, but contains moments that are right up there with "The Player."

The low point of the new Shall We Dance comes when Miss Paulina finally confesses why she's so sad.

Marchand capably builds suspense, thanks to a twisty script and nervy performances by Lucas and Quinton.

A British indie as tepid as yesterday morning's tea.

The gags vary - a tattooed-breast mystery kinda sags - but there are lots of laughs.

Sometimes there's a fine line between a labor of love and a vanity project, and The Lost City, Andy Garcia's heartfelt - but hackneyed and interminable - love letter to his native Cuba, repeatedly crosses it.

I Saw the Light is as vital as a two-hour shrug.

Interspersed with the gore is banter between the leads, who fall into a predictable odd-couple pairing of fussy (Reynolds) and gonzo (Jackson). Their rapport is amusing, but entirely, clumsily incongruous with the thuggish mayhem all around them.

These films take years to produce, so The Wild isn't exactly a ripoff - but it isn't exactly fun, either.

This serviceable remake sticks fairly closely and smartly to the same plot, with the same scary objects and even the line, “They’re here.”

Disaster movies, from "The Poseidon Adventure" to "Towering Inferno," are impossible to take seriously and "Day" is no exception - it's simply a fast-moving pageant of end-of-the-world eye candy.

Much of the action is strident and cartoonish -- but the romance at the core remains tender and true.

Nicely photographed and has impressive sets; too bad there's so little going on that it seems long even at 78 minutes.

The Italian film industry must be in sad shape when its latest import to the US is a tired bit of trash from 1997, To Die for Tano.

The will to live is missing from Netflix’s not-quite-sequel Bird Box Barcelona, and so is our will to watch.

There'll likely be more Z's in the audience than on the screen.

Director Boaz Yakin (“Remember the Titans”) indulges in an awful lot of gunplay for a PG-rated family film, but sure knows how to stage a dirt-bike race. The Belgian malinoises who play Max way out-act the humans.

Worse, it’s as funny as a political science class.

No worse and no better than the majority of chick flicks.

Filmmaker Alison Murray drew on her own experiences, but Mouth to Mouth would have benefited from more focus and fewer dance sequences.

I cracked up here and there watching this broad heist comedy, but it wasn’t laughter I felt great about. Director Jared Hess (“Napoleon Dynamite”) has always gone for geeks and oddballs, but this film mostly punches down at characters for being poor, unfashionable and stupid.

The movie doesn't really begin or end. Whether the lights have just gone down or the credits have begun to roll, things are pretty much the same for Henry.