Some of the funniest scenes belong to Ice Cube's "angry black captain" who goes on profane rants that would make Samuel L. Jackson proud.

The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness.

It’s closer to horror than the usual lightweight fare one finds in the genre.

Goldthwaite's script has the honesty of someone speaking with the voice of experience.

Although Around the World in 80 Days offers gorgeous visuals, that’s not sufficient justification for watching a film – any film – for three hours.

From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.

The Drop's unpredictability is organic rather than sensationalistic. The movie doesn't pull surprises out of thin air for the sole purpose of shocking an audience - it lets them develop naturally.

An incomplete movie, artlessly cleft in the middle. Cinema interruptus.

One Life feels like something straight out of the 1990s when many low-key, non-U.S. dramas were being embraced by art house devotees and more adventurous multiplex visitors. The movie is neither showy nor ostentatious. It tells a story in a workmanlike fashion that allows viewers to learn a little bit more about the central figure and why his life is deserving of a big-screen treatment.

This is not the first time Wright has shown his understanding for such things, nor is this the first occasion in which he has displayed a strong sense of comedic timing, but Scott Pilgrim vs. the World feels fresher and more inspired than his previous outings, and that makes it an excellent source of late-summer entertainment.

In his latest diatribe, Moore throws everything at the viewer including the kitchen sink and hopes something – anything – will stick. Sadly, not much does.

By mixing slapstick humor, outright silliness, and a psychedelic edge, Doff trades tension for laughs. He also has a political point to make about class divisions and the haves-and-have-nots.

In the end, the story becomes a little too convoluted and the resolution is over-the-top but, for the most part, the twists and turns keep the viewer engaged, the puzzle pieces fit together on a second viewing, and Rylance never ceases to mesmerize.

A mildly enjoyable romantic comedy.

A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.

While Changing Lanes isn't a perfect movie, it's watchable and compelling, and works on more than one level.

Agreeable enough motion picture, but not one that leaves any sort of lasting impression.

The truth can indeed be stranger than fiction and, in this case, were the story to have originated in the imagination of the screenwriter, it could rightfully be criticized as artificial and contrived. But, disturbing and unlikely as it may be, this stuff actually happened, and pretty much as Craig Zobel relates it.

The movie is not realistic, but the strong element of fantasy doesn't limit its ability to captivate and intrigue. That's because the characters and their relationship rise to the top and arrest our attention from beginning to end.

"Capote" is the more intellectual of the two films; Infamous is the more emotional. They exist to complement, not eclipse, one another.

The plot, credited to Simon Pegg & Doug Jung, is pure Trek. Unfortunately, it’s also instantly forgettable.

Stirring and emotionally forceful.

Although Like Crazy contains some emotionally on-target scenes, the movie as a whole feels glum and artificial. The characters, especially the male lead, are so low key that they're frustrating to watch.

The Hunger Games represents the best first book adaptation of any of the three series. It surpasses Christopher Columbus' "Harry Potter and the Sorcerer's/Philosopher's Stone" by a whisker and Catherine Hardwicke's "Twilight" by considerably more than that.

Dark Passage is a must see for fans of Bogart/Bacall.

It comes across as painfully politically correct, offering trite sermons on various "hot-button" issues (gun control and the greenhouse effect). The narrative follows an unwavering by-the-numbers strategy with an ending that echoes the "cornball" of Al Pacino's climactic Scent of a Woman speech.

There are no big-name stars. Barbara Serafian, who is excellent, has a thin, eclectic resume. She looks a little like Frances McDormand.

While these may not be the most unusual themes to fashion into a motion picture, Rudolph's atypical approach to the characters and their situations makes for an intriguing, if not always pleasant, movie.