If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.

Madame is populated by one-note individuals and the screenplay isn’t overly interested in building them beyond their core characteristics. As a result, lonely and bored Anne (Toni Collette) becomes unlikeable because she is defined by her vapidity and venality.

For those who have a penchant for talky subtitled romantic comedies, this one has its charms, but is probably more worth seeking out once it's on video than during its (probably short) theatrical life.

Links between climate change, population growth, and a potentially catastrophic worldwide famine are reduced to background plot points. The moral/ethical conundrums of the “solution” are paid lip service but not aggressively integrated into the story.

The material itself is unremarkable and the execution is mediocre. It stands out as often for missteps as for elements that are memorable.

For those interested only in a visual fleshing-out of a Wikipedia entry, Class Action Park does the job. Anyone hoping for more won’t find it in this unremarkable piece of nostalgia-bait.

As a video rental, this film will probably play a lot better than it does at the local multiplex.

National Champions remains effective as an ode to cynical realism but it’s uneven at best as a slice of drama.

Asteroid City doesn’t represent Anderson in peak form but it’s an occasionally enjoyable diversion that offers enough smiles and low-key laughs to paper over a few the filmmaker’s annoying tendencies.

Pretty mediocre entertainment, and probably better suited for home viewing than a trip to the multiplex.

If there's a complaint to be made, it's that the humor could be less scattershot.

Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.

Unfortunately, this is also among the weakest of the early Bond films, although Connery is in peak form.

It’s an uneven film with a tone that veers from playful to menacing. Despite numerous simplifications of the source material, it’s long and, with only a few exceptions, the songs are unremarkable and feel more like filler than organic elements of storytelling.

If you liked "Zombieland," you’ll probably like Zombieland: Double Tap, just not as much. It has some good laughs, although they don’t come as frequently. It has some clever moments, but not as many. And the character interaction is fun, at least most of the time.

As a B-movie whodunnit designed for fast consumption by popcorn munching crowds of inattentive viewers, it’s solidly entertaining. But as a complex, Hitchcockian (as in the obvious inspiration, Rear Window) thriller, it misses by a wide margin.

Time Trap is a superficially entertaining science-fiction action/adventure film that might have worked better had it focused more on the “science fiction” elements and less on the halfhearted “action/adventure” ones.

Perhaps the greatest strength of Star Trek: The Motion Picture is that, despite a badly-paced middle, it boasts a strong beginning and end.

As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.

Tokyo Decadence will appeal to only a select few. The movie is rated NC-17 for a reason -- it doesn't pull any punches, and there's virtually nothing it won't risk putting on screen. Those who take a chance on this film may be shocked by what it offers, but, regardless of their opinion of the story, the overall experience won't soon be forgotten.

The International possesses the look and feel of a thriller, but not the heart or soul of one.

Project X's first-person verisimilitude is the movie's primary strength and most damning weakness.

This movie is more of a curiosity than a fully formed motion picture.

If there’s a compelling reason to see the film, it’s Regina Hall.

Perhaps surprisingly, it's no better or worse that the other superhero movies of 2015.

There are moments of brilliance, but overall this is a bit of a chore—and the ending renders the whole enterprise kind of pointless. Of the director’s six English-language films, this is his biggest misstep and the one I’ve liked the least.

For those with an adventurous and offbeat cinematic appetite, Chandni Chowk to China offers its shares of enjoyments, although there are plenty of "downs" to go along with the "ups."

Without the elegant technique of John Woo, Hard Target could have been a real dud. It is not a good alternative to more intelligent thrillers such as In the Line of Fire and as The Fugitive, but that's not the market it's aimed at. However, those who enter a darkened theater showing this film with a reasonable idea of what they're getting themselves into, are likely to emerge satisfied.