Langella is solid as always, but his haunted, bitter character is pretty two-dimensional, and having to share all his scenes with Bentley doesn’t allow for much interplay.

A drab, gloomy drama that doesn't provide any real enlightenment about why something so awful could happen.

With barely a hint of trippy visuals, it captures the highs and lows of one mind-expanding surfside day.

As storytelling, it's extremely effective.

The movie's fast pace, and the three gleeful central performances, keep I'm So Excited! mostly painless. But the rest of it has a whiff of the sort of desperation that can make an exclamation point in a title seem like a good idea.

There's a potentially innovative teen comedy in here somewhere, but it's surrounded by one that's much duller.

The movie's a solid fish-out-of-water thriller that just happens to be populated by a few folks with adamantium skeletons or poison saliva on their résumés.

Willis appears to have finally grown bored of his own shtick, and Malkovich spends most of the movie looking humiliated.

As horror movies go, The Conjuring is an extremely skillful, entertaining remix album. That's not an insult.

Refn's trying to make too little stretch too far.

Bening and Dillon both play roles they could act in their sleep, though it's still moderately fun to watch them do so.

Co-directors Nat Faxon and Jim Rash, who won an Oscar for writing "The Descendants," are smart enough to mostly stay out the way and let this talented crew bring their script to life.

Idris Elba exudes the requisite militaristic authority as Raleigh's commanding officer, and Rinko Kikuchi is his determined partner in mecha mayhem.

Miller, who's still trying to find her way as an actress, isn't bad, and the Iranian-born Farahani is convincing, but their characters are blandly angelic, in stark contrast to the vast majority of men they encounter.

20 Feet From Stardom spends time as well with Claudia Lennear, Táta Vega and Lisa Fischer. None of the three ever found much success as a solo artist, but you probably can't listen to a classic-rock radio station for a half-hour without hearing one of them backing up Joe Cocker, David Bowie, Tina Turner or the Rolling Stones.

A Band Called Death is more effective as a chronicle of the intensely close relationship between three musically ambitious brothers than as proto-punk archaeology.

It's just a shame that the search for the missing formula ends up feeling so formulaic.

The ferociously misguided new rendition of The Lone Ranger has no legitimate reason to exist.

The central figure in The Attack is the very picture of a tolerant, integrated future for the Mideast. When a horrific blast kills 17 people and sends dozens of wounded to his hospital, he's elbow-deep trying to save the victims, even the one who refuses help from an Arab.

For most of its running time, How to Make Money Selling Drugs is a cheeky, moderately interesting look behind the curtain of the trade in contraband substances, from the corner dealer to the cartel-topping drug lord.

Disco scholars convincingly analyze lyrics and fashions as presenting bold expressions of sexuality and democratic hedonism, while Kastner doesn't skimp on the vintage clips, which range from unintentionally hilarious to surprisingly impressive.

If the film takes too long to wrap itself up --and hints, predictably, at a sequel -- the funky soundtrack is fun and McCarthy's South Boston relations are a scream.

It's probably not a good idea to examine the political content of a film in which the leader of the free world proves that the pen is mightier than the sword by stabbing someone in the neck with one.

It's a pleasant, engaging version of probably the closest thing to a sitcom the Bard ever penned.

The Bling Ring still feels more like a magazine article overstretched into a feature length film.

World War Z manages to be scary without descending to in-your-face gore -- it wants to frighten its audience, not disgust them.

The East never goes as deep undercover as it should.

Man of Steel has too many characters and too much plot, resulting in a movie that feels overstuffed and overlong.