You anticipate every scene before it happens and figure out every secret before it's revealed.

The Moment is another in a long string of thrill-free psychological “thrillers” that fail from start to finish.

In the 2014 annals of throwaway flops, save a special place for 95 wasted minutes of drivel called Reach Me.

Mr. Williams’ performance is so grating that you may find yourself more infuriated than amused.

It is still Gerard Butler who keeps it all afloat, negotiating rough waters with superior skill.

Director Lloyd leaves it all to the imagination, but in a movie this slow and indecisive, the imagination is no longer enough when we've seen stronger stuff elsewhere.

It reminded me of everything from "Ten Little Indians" to a low-budget take on Neil Simon’s "Murder by Death" without the laughs. It’s diverting for people who love games, but not for the squeamish.

An idiotic bore called The Lovers has so little connection with anything professional that it’s hard to believe it was written and helmed by the same man. It’s so deadly and unintentionally funny (I hope) that it practically defies description.

It’s a disaster.

Plotless and leaden as a rusty drainpipe.

Even a guest appearance by Jamie Lee Curtis couldn’t bring this celluloid zombie to life.

Gary Oldman, in the worst performance of his career, plays a one-eyed slum lord and master villain named Ezekiel Mannings.

I endured this modest, sometimes vulgar and often insulting family flick for one reason only: an unusual chance to watch the charming, likable and woefully underrated Tom Hanks clone, Tom Everett Scott, in a rare leading role. Big mistake. We should all have stayed home with a good book or worthwhile rerun of a real family film like "Meet Me in St. Louis."

Pierce Brosnan’s charm and finesse haven’t been put to good use since "The Matador." That was years ago. Some Kind of Beautiful doesn’t improve his luck at all.

A nasty piece of work that's been hanging around for two years looking for an audience.

If it all seems a bit familiar, that doesn’t mean it isn’t also funny and pleasingly transporting, thanks to a game and attractive supporting cast and a transfixing setting that seems cut out of the pages of Conde Nast Traveler.

The result is such a bomb—exaggerated, infuriating, and about as funny as a root canal without anesthesia.

There’s nothing to make your hair stand on end in The Shed because it’s not convincing. Despite walk-ons by a pair of experienced professionals, Timothy Bottoms and Frank Whaley, the actors are unknown for a reason, and despite familiar weapons of self-defense such as fires, shotguns, hatchets and chainsaws, the plot is jokey and the action defies all logic.

Bullets fly, but none of them in the right direction.

The dialogue is witless and dull. The direction by Tony Dean Smith gives the actors nothing meaty to do beyond mouthing words designed to move the narrative forward.

This one is certainly different. That doesn’t mean it’s good. It’s just different.

Loren & Rose is the kind of exemplary film that depends on the value of feelings expressed through words. Fortunately the economical direction and illuminating dialogue, triumphs of nuance and revelation, are both by Russell Brown, a pliant and meticulous filmmaker worth keeping an eye on.

It’s not dull, you won’t dare doze, and there’s something to be said about a cast of bloodthirsty carnivores in the middle of an actor’s strike.

What the film does effectively is revitalize Welles’ work by viewing it through the lens of media consolidation, government repression of art and leftist thinkers, and social justice.

At the Gates is a noble film that forces you to think about both sides of a controversial issue in a new light. Not exactly a masterpiece, but highly recommended.

Between its recreation of that Greenwich Village apartment, its use of archival audio recordings of telephone conversations and its fuzzed-out cutaways to vintage TV clips, One to One...often feels more like a museum installation than journalism. But its subject and its music would reward either.

The latest entry in the overcrowded genre is a sobering, well-made drama that is well worth seeing, titled Truth & Treason, about the youngest person ever executed by the Third Reich for his dedication to criticizing Adolf Hitler.