Arguably the darkest episode in the entire series (and the first to carry a PG-13 rating) the visually stunning "Sith" is also the fastest-paced and most accessible.

The tales mostly drift along and wrap up unresolved. If this is an accurate slice of Paris life, I'll take the relative excitement of Topeka.

Mildly diverting, but lacks humor and pathos.

Nonprofessional actors and convincingly dingy details give Fratricide a harsh documentary quality, and its "Midnight Cowboy"-style ending is bitterly powerful. Devotees of seamy '70s cinema should give this little film a look.

For a change of pace, you leave the entertaining “Superman” not confused or clobbered, but feeling good.

A gorgeous snooze, somewhere between imitation Terrence Malick and a feature version of star Brad Pitt's notorious Vanity Fair layout with Angelina Jolie and their faux kids.

This is a slickly entertaining package, beautifully photographed on well-chosen locations with an unerring sense of pace by Gregory Hoblit.

Takita could easily trim 30 minutes of flab and oceans of tears from Departures. It still wouldn't merit an Oscar, but it would be a lot more watchable.

A cinematic listicle of misleading economic talking points.

Nature films don’t come any more spectacular than the BBC’s One Life.

There's not enough good material to fill the film's overlong 105 minutes. Is there an editor in the house?

As always in Veber's films, the predictability is part of the fun.

Filled with arch wit, the film is sweet and sorrowful at the same time. Like many indies, it lacks much of a conclusion, though writer-director James C. Strouse shows that simple ideas, ably executed, can make an endearing film.

The premise is so sad it's impossible to chuckle at the often heavy-handed humor.

Accurately described as an Icelandic version of Pedro Almodovar's gender-bending black comedies -- but it's also reminiscent of early Woody Allen movies.

Watching The Italian Job in a theater makes you long for a fast-forward button - to skip past 90 eyeball-glazing minutes of generic caper plotting and cut to the chase, as it were.

One of those French films whose makers won't lower themselves to tell a story in a way that is entertaining or compelling.

The Inheritance has a promising start but soon becomes preachy and melodramatic.

The film quickly ceases to be of interest to anyone but dedicated fans. The novelty of the deliberate ugliness wears off after a song or two.

Unfortunately, it doesn't work. None of the talking heads is as interesting as Yu thinks they are; and it's difficult to build sympathy for any of them.

The New Black often feels like a polished but uninspired op-ed.

A central problem: Efron isn’t funny.

Even in support of the noblest of causes, manipulation is manipulation.

Holy ship! Crowe’s grumpy Noah and his dysfunctional clan help God reboot the too-wicked world in this imaginative (but hardly sacrilegious) and visually spectacular elaboration on Genesis.

At Crimes, you gag a lot more than you giggle.

It might sound like a gimmick, but it’s as good as any action-comedy you’re likely to see. Cage heightens his already big personality just the right amount to ensure that the film rises above a skit. We care a great deal about fictional Nicolas Cage.

How unfortunate that we have two Ant-Man films and soon will have a pair of Doctor Strange flicks, but in all likelihood just a single Black Widow — a much deeper, more fascinating, more exciting character than either of those two duds, sorry, dudes.

Sweet without being sticky and funny without getting silly, Whip It introduces Barrymore as a director with a keen eye, a good ear for tone and an inspired touch with actors.