There are probably enough moments to satisfy hard-core fans, but for the rest of us, this amounts to the Middle Earth equivalent of “Star Wars: Episode II — Attack of the Clones,’’ a space-holding, empty-headed epic filled with characters and places (digital and otherwise) that are hard to keep straight, much less care about.

Even with a clever final twist straight out of "The Twilight Zone," this crummy-looking two-hander is a tough sit.

At 132 minutes, the film is at least half an hour too long. Nobody asked me, but the best solution would be to keep the action sequences (such as the robbery of a horse-drawn steam train, an homage to Sergio Leone's "Once Upon a Time in the West''), and scrap the allegedly "witty'' dialogue and difficult-to-follow plot twists.

Guerrero's attitude toward the teenagers - understanding and affectionate, without being cloying - is what holds your interest.

Hats off to Elisabeth Marton, who has taken a bunch of dry facts and fashioned them into the gorgeous My Name Was Sabina Spielrein.

A daunting work that will please movie lovers willing to invest their time and intellect. Now I look forward to Fiennes' next project, a feature about Grace Jones.

Sometimes dull and mostly uninspired, it's much less a satisfying reboot like "Batman Begins'' than a pointless rehash in the mode of "Superman Returns.''

Stakes aren't the only problem with this sloppy thriller, which combines careening images with turgid storytelling.

This genre flat-lined a long time ago. Why won't it stay dead?

By the time the closing credits roll, you'll be ready to run out and hug a tree.

Smart, scary -- and at times very funny -- horror movie.

In attempting to dramatize their harrowing story in the film Thirteen Lives...the director doesn’t make quick, from-the-gut decisions the way that the intrepid team did. Instead, he takes a chill ride on the Lazy River.

Warm and charming and often witty, it's as good a romantic comedy as has come out for some time, with an endearing, perfectly pitched central performance that's a four-square triumph for Zellweger.

Combines big laughs, a big heart and thoroughly winning characters to become the first big surprise of the fall season.

Has enough heart and smarts to recommend it as one of the season's worthier family entertainments.

A muscular, endlessly twisty homage to film noir capers like "The Asphalt Jungle."

Ferrell's manic, overgrown-kid energy sweeps all before it, announcing him - after his standout turn in "Old School" - as a major leading-man talent who can charm as well as amuse.

Stirring as it frequently is, The Way Back is a good movie that should have been a classic.

This Morgan Freeman-narrated documentary doesn’t stray much from the nature-doc formula of making its stars look frisky and winsome while sprinkling in a few info-nuggets about the critters (they’re older than dinosaurs!). And that’s just fine.

If there is a poetry to losing, then this film has as much as the collected works of John Milton.

Though the story may be cut from the same cloth as the female-empowering "Divine Secrets of the Ya-Ya Sisterhood," it's never as cute, cloying or overbearing as that movie eventually became.

Like many movies that premiere at the Sundance Film Festival, The One I Love has plenty of story — for a 30-minute TV episode, in this case of “The Twilight Zone.”

Though deeply well-intentioned, director Kasi Lemmons’ film never really breaks free of conventional biopic mode.

Directed with visual splendor by Wes Ball, the meaty film’s combo of flawless zoological effects (unlike this year’s inferior primate picture “Godzilla x Kong”), superbly crafted characters and a timeless story of emerging civilization and the fight for survival is remarkably riveting for what sets the groundwork of a whole new trilogy.

Unfortunately, the cast of characters you’ll find here is a pale imitation of her Hogwarts heroes.

The best kid-friendly movie of the holiday season is Nénette, a portrait of an orangutan.

The script is cliché-ridden and ends on an overly sentimental note.

This film loves its characters, but loves their ideals even more.