Clever but, alas, largely forgettable.

A well-acted, convincing portrait of a successful but overworked film producer.

Shrek 4 is at its best when it's sadistically doing these character remixes; you can feel the filmmakers' glee at getting to shrug off story continuity and make a mess.

In trying to make Kalmen's story unique, the film inadvertently exposes him as the most typical sufferer of midlife crises you could imagine.

There’s quality throughout, but, visual verve aside, the enterprise is dull, heavy-handed and dispiriting.

iI’s a film more content to amuse than truly to probe or feel.

Takes a little while to find its way but becomes steadily more compelling as Lenny's character and considerable issues come into focus.

Only a shadow -- if an agreeable and harmless one -- of its predecessor film.

Babies will capture your eye -- and, probably, your fancy.

Prolific documentarian Alex Gibney takes a labyrinthine, detail-laden story and crafts an attention-holding film, polemical without ranting.

Something like a finely-written and -acted soap opera. That isn’t death, but it’s less like life than you’d hope.

Her film is just as effective as a portrait of two unknowable, individual souls caught up in events of global scale.

Time to retire OSS 117's license to kill before any more innocent people suffer.

Alas, the drama surrounding him (Caine) rarely rouses anything but yawns.

There are laughs and moments of pain and many instances of embarrassing (and deeply human) behavior throughout, but there's also delicacy and grace.

A breezy, dumb and lightweight film that has the benefit of not trying terribly hard to be about much of anything and succeeding (bravo?).

Suffers from sludgy pacing, flat writing and acting, and a strange and puzzling fondness for scatology and coarse language.

Director Kim Ji-woon creates a funny, fast-moving pastiche of Spielberg, Woo, Leone and George Miller, but it's really a must-see for its three big action set pieces -- which go on for a million years each and become almost hallucinatory.

Doesn't make the case that watching truly bad movies is worthwhile. But it does make you realize that nobody gets up in the morning, showers, breakfasts, dresses and goes to work thinking they're making the worst film in history, either.

Director Matthew Vaughn has provided an imperfect but still wickedly hilarious take on Mark Millar's deconstruction of superhero mythos.

A diverting, playful and puzzling documentary.

The Joneses turns out to be a smart little comedy that tosses some sharp little darts at our consumer-driven culture.

All that talent behind and in front of the camera is mostly wasted due to a rare substandard screenplay.

The movie knows enough, most of the time, to just let the funny people be funny.

The whole thing unfolds with sadistic precision, but Edgerton's expert manipulation makes it a fun ride nonetheless.

It all passes quickly, as far as that goes, but when it’s over it passes entirely. And something that sells for a premium price ought to linger.

The movie's as casual as its lead characters' approach to changing history; it's also lewdly and frequently laugh-out-loud hilarious -- especially if you wasted any of your youth watching a certain brand of '80s comedy schlock on HBO at 2 a.m.

The ensuing love triangle culminates in a frankly loopy finale that tarnishes the film's earlier insights and ensures that it will be only remembered for some hot and heavy bedroom scenes.