The willfully eccentric Beyond the Sea seems to be telling us a lot more about its star and director, Kevin Spacey, than its ostensible subject.

You could make a very funny comedy about a guy who pretends to be retarded so he can win the Special Olympics, but The Ringer isn't it.

While Bigbug is characteristically eccentric, it also has the most mainstream appeal of any Jeunet film since “Amélie.”

A two-hour trailer: explosion, shape-shift, chase, wisecrack, repeat. Its most amazing trick will be how it vanishes from your memory before the seat you vacate has stopped moving.

The voice work and the overly smooth animation mostly stink.

Johnny English Reborn sounds like a reboot, but it's actually a tired recycling of something that wasn't exactly fresh to begin with.

Although the golden-hued cinematography (a filming cliché that really needs to be retired) and the sometimes slack direction by Marc Evans are minuses, Hunky Dory does deliver in the musical department.

Routine stuff, but things move quickly, with several offhand funny moments. Mos Def is hilarious in a cameo as another delivery guy.

Uncompromisingly mediocre comedy.

Scott Thomas sounds like she’s about to pull out a shiv and knife her new boss right then and there. The actress is so good, you wish she could reprise the role in a better film that actually deserves her.

The film begins at ugh and ends at dang. You don’t yell at the screen so much as yawn at it. An intriguing plot then turns into a telltale heart that doesn’t pulse.

Overall, everyone’s working far too hard at hitting their marks in this march toward a conclusion that’s both predictable and laughable.

Another ridiculous anti-American screed by the minimalist Danish director Lars von Trier, who has never set foot in this country.

It’s a “Dumb and Glummer” of a sequel that confuses the worst punchlines ever for Prosecco fizz, when the groaner jokes go down like lukewarm vodka.

It's a film noir spoof, replete with hard-boiled narration, lounge-music soundtrack and dramatic black-and-white photography.

Eric Schaeffer's rip-off -- er, homage -- to "Magnolia," is a marginally better movie than his previous self-absorbed atrocities like "My Life's in Turnaround" and "Wirey Spindell."

This franchise really belongs in the rearview mirror.

This wannabe works oh so hard to be a contemporary detective noir, with its shadows, damsel in distress and brooding narration. But it never finds the suspense or sensuality of that genre.

A flat, would-be thriller pausing briefly on its journey to video stores.

Scenes that should be grotesquely funny deliver only chuckles rather than a big payoff.

Picture "Raging Bull" with a sleazy prep from the Brooklyn hipsteropolis of Williamsburg, and you'll get the idea of The Comedy, a character study that tries to make the revolting compelling.

This rambling, overproduced, tone-deaf melange of romance, comedy and drama is only slightly more engaging than Brooks' other feature this century, the unfortunate Adam Sandler vehicle "Spanglish" (2004).

A suspenseless rehash.

This is ultimately a sunny movie full of likable characters.

Compared to another recent teen weepie, “The Fault in Our Stars,” this one comes up wanting. That film’s strong point was the delight its heroine took in detonating romantic clichés; If I Stay seems determined to keep them on life support.

How do you inject life into a film whose central character is dull, slow, stupid and grim?If you're Arnaud Desplechin, you don't.

A strong, early candidate for the worst movie of the year.

The film is ultimately a one-man show -- and when that man is the singularly crafty Depp, it's hard to look away.