Although McHale’s theories are interesting to listen to, there’s a smoke-and-mirrors quality to them. One thing is certain, however: You Don’t Nomi is a much better motion picture than the movie it profiles.

The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.

Q & A is testimony to the validity of the old adage: a good story, when well told, can never be told too many times.

To the extent that The Trigger Effect is intended as a tense, somewhat nerve-wracking thriller, it's adequate, and certainly better than the formula-driven likes of The Hand that Rocks the Cradle.

With Steven Soderbergh at the helm, this has become a whimsical, semi-comedic romp, complete with a score by Marvin Hamlisch that recalls kitschy '70s TV shows, cutesy captions, and a tongue-and-cheek approach to the entire story.

Director Guillermo del Toro’s unique visual style is on display but the story is predictable, the characters are flat, and the supernatural elements are red herrings. To paraphrase a character, this isn’t so much a ghost story as it is a “story with ghosts.”

Cyrano is a disappointment. The set design and camera work are first rate, as are the performances of Dinklage and Bennett. It causes one to wonder whether, had the songs been excised in favor a straightforward telling, Cyrano might have played better. As it is, however, it’s merely a handsome looking period piece with too many mediocre songs and a major downer of an ending. Not exactly a great way to ring in a new year.

Contrasting The BFG to "E.T." does the new film a disservice, and it’s mediocre enough that it doesn’t need the comparison to emphasize its shortcomings. In recent years, Spielberg has become a hit-and-miss filmmaker and this is closer to a “miss” than a “hit.”

Superficiality is The Kid Who Would Be King’s greatest weakness. It skims along the surface, always taking the obvious path, never courting interesting possibilities, and trumpeting trite messages about friendship, truth, and belief in self.

Unfortunately, the running time is too short for us to get to know, or care about, the characters in a way that would make the film's themes strike a responsive chord.

There’s an inevitability about The Danish Girl being well received by critics and at awards ceremonies. This is, after all, a movie with a strong social message about tolerance and inclusivity. Dramatically, however, it’s a mixed bag.

It maintains its cheekiness while poking fun at the overused concept of redemption. Most importantly, it stays funny up to the beginning of the end credits, and maybe a little beyond.

Gordon-Levitt wears three hats (director, writer, actor) and all of them fit.

Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.

There's plenty going on but never any real magic.

Its unique take on a common subject lends freshness to the familiar and provides a worthy motivation for seeing this.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

Even though it is rather obviously trading on a familiar and beloved brand, Wonka is nevertheless a fun and imaginative family film – certainly better than one might expect from a production crassly viewed by some as a “cash grab.”

This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.

Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.

Director/co-writer Gillian Robespierre is nowhere near as self-indulgent as Noah Baumbach but she’s aiming for the same audience.

There's less whimsy to be found here than in "The Princess Bride," but the film is likely to appeal to the same group of older children and adults that appreciated Rob Reiner's classic.

You laugh a few times but, in the end, you wonder why you bothered.

The movie isn’t for those who crave light, uplifting entertainment. Instead, it’s for those who want a precise, visceral experience from a motion picture.

Strange Days is a thriller first and a mystery second. It's big, explosive entertainment and, although not directed by Cameron, is very much in the vein we've come to expect from him. Strange Days may not be the best movie to hit screens during the Fall, but it's likely to be the brashest.

The movie is entertaining on a superficial level, but there's little beneath the surface.

Carlito's Way probably should have been a taut thriller, but choices by DePalma in both presentation and editing have hamstrung it.

The Edge comes across as a parody/adventure without a clear sense of identity.