These two stars bring believable chemistry and emotion to a film that might otherwise wilt under the weight of so much melodrama.

The Pruitt-Igoe Myth doesn't offer easy conclusions.

Sexploitation and art blend uneasily in Crazy Horse.

There's little sense of the Carol Channing beneath the overdone makeup - if there is one.

The Innkeepers is no masterpiece, but you may well leave with your nerves expertly jangled.

Banal at the beginning and preposterous at the close, the British horror film Kill List jumbles together wildly incongruous ingredients to create a dramatic mush.

Would the Mayans have predicted the end of the world in 2012 if they'd known it would inspire not only "The Tree of Life'' and "Melancholia'' but an endless supply of more dreary depictions of end-times like this one?

An interesting debut for director Pesce, although it isn't worth running out to see. Wait for it to hit the small screen.

This jagged blob of a movie features a solo dance in the 1930s scored to the Sex Pistols' "Pretty Vacant," several scenes of a rich Manhattan woman chatting with the ghost of Wallis Simpson and a Sotheby's auction that draws a crowd reaction of the kind associated with "Family Feud." Yet I found the movie fascinating. Except for the boring bits.

It's an exciting, charming and often quite funny family film.

Erstwhile boy wizard Daniel Radcliffe works no magic as a grieving lawyer in The Woman in Black, a creaky haunted-house story that's strong on creepy atmosphere but woefully deficient in the scare department.

After Fall, Winter would play better minus at least half an hour of flab.

France's Declaration of War has it all: comedy, romance, fantasy, musical interludes and a child with a brain tumor. Wait - what?

What follows is a jumble of cop- and heist-movie clichés, dotted with appearances by actors you liked in something else.

Forsaken in a cruel wilderness, a man looks to God and pleads for help. Receiving no answer, he says, "F- -k, I'll do it myself."

As North Korea undergoes a highly publicized change of leadership, The Front Line proves timely. In fact, one of the movie's army commanders looks like the north's new baby dictator, Kim Jong-un.

It's unfortunate that director Whitney Sudler-Smith seems to have spent more time on his own hair than his interview prep.

Director-writer Shimon Dotan takes this iffy story and makes it nearly unwatchable by jumping back and forth in time, using screens within screens and bouncing between color and black-and-white.

This strange and eerie noir is more a collection of knockout scenes than a fully realized story.

Haywire is a wannabe, or rather a wanna-B, and that B is for "Bourne." As each imitator comes and (rapidly) goes, my appreciation for the best superspy franchise deepens. Even top directors - in this case Steven Soderbergh - can't figure out the trick.

A well-acted, well-directed (by TV veteran Anthony Hemingway) popcorn movie with great aerial battles and solid dramatic scenes that hold your attention for two good hours.

The French affection (affectation?) for conversational film reaches absurd proportions in the talkathon Domain.

Romantic comedies are often as contrived and irritating as Loosies, but few feature a lead character so lacking in appeal.

Luiz Inacio Lula da Silva, Brazil's reformist two-term president, gets the once-over-lightly treatment in Lula, Son of Brazil.

The only possible relief from director Xavier Gens' abusively bleak survivalist scenario is how implausible it is.

Latifah, a formidable actress who's almost always better than her movies, easily dominates this hokey cross between "Glee'' and "Sister Act.''

Contraband aims to be dumb fun but gets only the first half right.

The title It's About You is something Kurt Markus claims Mellencamp told him when he commissioned the film. With the elder Markus' self-important, egotistical narration rarely shutting up, it was a fairly prophetic remark.