The image that sticks with you here is a smoky pub where the patrons are singing "You Belong to Me.''

The action is brutal, bloody and virtually nonstop in this adrenaline-packed riff on "Assault on Precinct 13.''

If the end of the world was just hours away, would New Yorkers still be able to get takeout? Yes, if Abel Ferrara's mind-bending 4:44 Last Day on Earth is any indication.

Fails to draw much humor from farcical situations.

Amusing and informative (and hyperbolic) as it is, All In: The Poker Movie is a documentary whose intended audience is unclear.

The story never quite gets into the groove.

May be well-intentioned, but it's as obvious and inert as a spoonful of mashed potatoes.

Director Gabe Torres lobs a twist you'll likely see coming, and another you may not - neither satisfying enough to justify an hour and a half of Dorff-in-a-box.

The Hunger Games may be derivative, but it is engrossing and at times exciting. Implicitly, it argues that "The Truman Show" might have been improved by Ed Harris lobbing fireballs at Jim Carrey, and it's now clear what "American Idol" was missing all those years: a crossbow for Simon Cowell.

The movie is a pleasant way to spend time in the dark, especially for Francophiles, but it won't leave any lasting impression.

As a French Resistance thriller, Free Men is so-so, but it is driven by a mischievously interesting idea: that Muslims and Jews have more in common than they normally allow.

In The Kid With a Bike, Belgian filmmakers Jean-Pierre and Luc Dardenne offer a sly but finally banal update of the Italian neorealist classic "The Bicycle Thief."

Completed four years ago, Seeking Justice is dutifully directed, with an absolute minimum of thrills, by Roger Donaldson, whose credits include the terrific "No Way Out" (1987)...That film's title is a pretty good description of where Cage's career seems to be headed.

[Director Kaye's] dedication to the material is admirable, but his tactic of following one dismal development with an even more depressing one comes to seem monotonous and pointless.

As a full-length feature, Casa is simply a funny concept that starts to go stale around the 10-minute mark.

A bit too shaggy to totally live up to the potential of its fine cast. But there are moments of comedy gold - especially as Segel, who went full-frontal for "Forgetting Sarah Marshall" endures endless humiliations as the title character.

The funniest movie I've seen in more than a year.

The real star of the movie is the delectable sushi itself. Viewers will be tempted to hop the next flight to Tokyo, but probably will have to settle for a Japanese eatery closer to home.

Stage performance is good training for life, claims this documentary about a high school Shakespeare competition.

Once it calms down and stops trying to be funny, it turns into a thoughtful and intriguing drama.

When they came in to pitch A Thousand Words, no doubt by calling it "Jerry Maguire" meets "Groundhog Day," a studio exec should have raised the palm of rejection and said, "When you stop being sadly derivative and write an original idea that's as good as those two, come back."

These are characters with whom it's a pleasure to spend a couple of hours.

Demonstrating the limits of being too clever in a genre movie, the art-house chiller Silent House lets the tenseness of its first act trickle away.

Credit Westfeldt, who is also the writer and director, with a classic setup for farce, brightly executed.

Interminably long, dull and incomprehensible, John Carter evokes pretty much every sci-fi classic from the past 50 years without having any real personality of its own.

So there is courage and cheekiness here. What there is not is a story, or much insight or even anger; anyone expecting an indictment of Iran will be sorely disappointed.

Overlong and grim to the point where some scenes are virtually unwatchable.

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