Partridge is a smidgen less abhorrent here than in previous incarnations, but just a smidgen.

It's mostly full of schlock.

The only thing missing from this steaming casserole, in fact, is the one crucial ingredient: A sense of humor.

See it for Belle. See it for the parkour. And for the wonderfully magical spectacle of a man flying.

This compelling piece of historical detective work is, in fact, less about what people have done to the islands than about what living on the islands has done to people.

Hers is a sad story, but the fact that she never received recognition during her lifetime isn't part of its sadness.

The Railway Man wants to be two or three different movies wrapped up in one and ends up being a fairly mediocre version of each.

The subtle menace of the would-be geneticist of the Master Race mingles with ordinary pre-teen foreboding to create a riveting cocktail of unease.

Gabrielle borders on the manipulative, but Archambault’s refusal to shy away from the tougher questions the narrative raises keeps it from being swallowed by its own sentimentality.

A thoroughly mundane experience.

The star's innate vulnerability (and his ease with Dom's colorful but expansive vocabulary) makes the character more sympathetic than he has any right to be. And that, in turn, makes Shepard's film more entertaining than the Guy Ritchie ripoff it initially resembles.

When the fly trapped in the spider's web is as clueless and selfish as the sap played by Mark Webber in 13 Sins, it's hard to muster much sympathy.

The Missing Picture feels akin to last year's great documentary, "The Act of Killing."

The scenes between Gainsbourg and Skarsgard are fewer and less engaging than in the first volume, and the dichotomy between them is simpler and more obvious. And that doesn't even include an ending that is as impulsive and deranged as anything Joe comes up with during all of her taboo-breaking adventures.

Throw in an unbearably gloomy plot involving overbearing or grieving parents and a pointed commentary on the corrupt, classist nature of modern Romania, and you're in for a downbeat evening. "The Lego Movie," this isn't.

There's nothing earth-shaking here, but a chance to see one of cinema's great movie stars in a tailor-made role that pleasantly subverts her icy image is always welcome.

Highly entertaining chronicle of a dream unfilmed.

A fascinating and frustrating film.

Joe works better as a study of character and environment than as the thriller it tries to become in its final act.

As a hypothetical, all-access documentary about the kookiest day in draft history, it's oddly satisfying, maybe because watching the actual, bloated spectacle (scheduled this year for May 8) is so often underwhelming.

Ernest & Celestine delivers a sweet message that should prove delightful to young and old alike. Though the premise makes it sound like it could be preachy, this cute children's story is anything but.

It’s still worthwhile to see such seasoned screen professionals working to create something meaningful.

There's a lot of ground to cover -- too much for a short documentary -- and Wolf goes past his boundaries for a quick, unnecessary glimpse of Sinatra, Vietnam, and some of what came after 1945.

Goodbye World will remind you more of "Gilligan's Island" than "Lost."

Young & Beautiful is mysterious and erotic, though the ending may leave some as cold as Isabelle.

Just as austere and demanding as you'd expect a black-and-white film about a Polish nun to be. Don't let that scare you, though.

Despite some of its more rickety story elements, Captain America: The Winter Soldier is possibly the studio's best action film and the one most able to stand on its own since the original "Iron Man."

So Ayer, the director of the new Sabotage, does it smartly, subtly, by keeping some of the Schwarzenegger totems -- the masculine power, the enormous armory, the drainpipe-sized cigars -- and raising the quality of the surroundings.