Heisenberg's thriller ends with a chase across highways and through woods that will give viewers adrenaline highs of their own.

Fails to show indignation that rich white guys are trying to get even richer at the expense of a naive black kid from the ghetto.

Wild Grass is a French movie for people afraid of French movies.

Somewhere on the axis where David Lynch, Paul Thomas Anderson and Joey Bishop intersect, a man in a Salvation Army tuxedo wanders the Mojave Desert supplying anti-comedy to every cocktail lounge and prison in his path. This is Entertainment.

Twisters, the disaster movie starring Daisy Edgar-Jones, is an oddity in 2024: a reboot that’s actually worth your time.

A sweet, science-fiction family film with a loud environmentalist message (speaking of “Avatar”) that’s good fun. It’s also nicely self-contained.

The anti-Ben Stiller comedy: There's humiliation aplenty but no mugging, no abuse to the crotch region, no straining to be outrageous.

Mostly, this frantic film is yet another attempt at “Spinal Tap” silly. At times it goes for the heart of “Almost Famous,” and its sense of rock is that of a barely acquainted observer.

When the Powerpuff Girls blink those soulful dinner-plate peepers, you could forgive them anything - even their movie's wafer-thin excuse for a plot.

Director and writer Riley Stearns’ mediocre comedy aims to be a roundhouse kick at traditional masculinity, but doesn’t manage to take it down in any deep or insightful way.

Tender and often extremely funny.

The film's most memorable performance is by Eamonn Walker, who is scarily good as the singer known as Howlin' Wolf.

Perhaps no movie could do Muhammad Ali justice. But this overlong but sketchy biopic by Michael Mann, in which style repeatedly tramples substance, actually does the great man a disservice.

The film 12 and Holding brings you back to when you routinely said things like, "I'm going to kill you" or "We're soul mates" and meant it.

Thick-necked, booze-loving and angry men beat each other with their naked fists: so far, so Irish. But the feuding clans in the documentary Knuckle actually think their habits of antagonizing one another can be fixed by just one more problem-solving brawl.

The drawbacks to this often rhapsodically beautiful film lie not in the journey itself, but in the preachy detours taken along the way.

This reverential documentary, crammed with insidery art-world anecdotes, seems unlikely to convince the average viewer why it was so important that several male artists ventured out of New York at that time to push dirt around with shovels and bulldozers.

Kevin Smith's Clerks II doesn't take much notice of anything that's happened since the 1994 original. It's occasionally clever and gets a few points for originality.

The more dramatic revelations and tragic inevitabilities that turn up, the harder it is not to laugh. Give credit to its maker for directing with an earnestness suggesting a pretentious 22-year-old. Having passed through the phases of Interesting Apprentice, Mad Genius, Chastened Bankrupt and Shameless Wage Slave, Coppola at 70 may be the world's oldest student filmmaker.

Veers between mystery, comedy, philosophical inquest and medical/psychological drama.

The movie is neither an affecting romance (Coco even considers marrying Balsan because "I'd achieve social status") nor an inspiring success story. Chanel sold herself to one guy, happened to get customers through him, and took a start-up loan from another lover.

De Villa has created a truthful representation of a colorful community.

Find Me Guilty belongs to the odd couple of Dinklage and Diesel, whose volatile performance finally proves he is much more than an action star.

Like "Once," this film is a tender little piece of heartbreak.

A comic adventure that suffers from a dearth of both laughs and thrills.

Fox can't decide if Walk on Water is a terrorist thriller or a gay buddy story, and neither can the viewer.

True, the stars are very good at what they do, but so what?

If you're starved for on-screen nudity and sex garnished with art-film trappings -- The price you'll pay is putting up with the director's relentless Euro-pretension, manifested in a tediously contrived plot crammed with absurd coincidences, clunky symbolism and soap-operatic melodrama.