An uplifting story to be sure, but director-producer David Swajeski doesn't do it justice.

Yunus would seem to be a prime candidate for a movie about his work. Unfortunately, director Holly Mosher's by-the-numbers documentary Bonsai People isn't the answer.

Abysmal performances, limp direction (Will Gould) and a heavy-handed script drive a stake through a semi-interesting idea about the persecution of gay werewolves in a remote English village.

Not unpleasant, but you've seen it all before.

Painfully sincere. But it wrings almost no laughs or tears from this seemingly idiot-proof premise.

Sweet but not especially original.

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.

You know a movie's got problems when the most memo rable thing about it is Sienna Miller's mustache.

It’s one of the worst movies I’ve ever seen at Sundance.

A genially silly gay date movie.

A cringeworthy, unfunny example of a culture-clash romantic comedy.

Significantly more gruesome and noisy than its predecessor, and boasting more nasty-looking fluids than all the works of David Fincher combined, this version leaves few corpses unturned in its unstinting campaign to please gorehounds.

Smarter than your average serial-killer movie, thanks to unusually fleshed-out characters inhabited by a high- pedigree cast.

Riddick-ulous.

Director Gaby Dellal gets respectable performances all around, especially from Dekker as the hapless, grief-stricken father, but they can't elevate Angels Crest, beyond its one obvious and depressing note: It is very sad when a small child dies.

The Entourage formula feels warmed-over, played-out, spent.

Flash Point comes loaded with cliches and immediately starts blasting them in every direction.

[JK Simmons] provides a little comic relief, and sums up my feelings on this whole outing: “Goddamn time-travelin’ robots!”

If you don’t think “All About Eve” was a documentary, you’ve never dated an actor. That classic show-business paranoia is the subtext that drives Gemini Man, an action flick with a twist.

When the studio tells us that parental guidance is suggested, does it occur to them that they should have taken their own advice?

There are bachelor and bachelorette parties, as well as much misbehavior, in this glossy and unconvincing little flick, receiving a vanity booking on the way to video.

Panders to its audience by glorifying drug dealing and violence in all-too-depressingly familiar ways.

This is a by-the-numbers rehash that will leave anyone much over 5 enormously grateful that, if you duck out before the lengthy end credits, it lasts just over an hour.

It's basically the longest (a butt-numbing 21/2 hours), the most expensive (a reportedly obscene $150 million), most vulgar and by far the stupidest episode of "Miami Vice" ever.

Finish your popcorn early if you’re going to The Green Inferno, and save the bucket to barf in.

Its images came from a dusty box in the horror-movie attic, and the attic is where the entire picture will be in a month.

I love musicals, but I'd be hard-pressed to recommend this curiosity, sort of a shoestring version of Francis Ford Coppola's "The Cotton Club."

A cautionary tale for the age of reboots, “International” takes over from a perfectly good comedy film series, and turns it into witless, generic space debris. It is the “Indiana Jones and the Kingdom of the Crystal Skull” of “MiB” — but somehow the aliens here are even worse.