There are too many major characters and too many points of emphasis. As elegantly directed as it sometimes is, it feels disjointed, scattered.

Like a bad '80s flick, Stage Fright, could have been so much fun.

While the cinematography and production design give The Double a formidable if not particularly original look, what really sells the movie is its acting. Eisenberg is unshowily brilliant in his dual role.

This is one of those movies that parents will have to ask themselves if they love their child enough to sit through it. At least "The Nut Job" is off the hook as the worst indie-made animated feature of the year.

Elizabeth Banks’ character — a perky and wholesome local news anchor — is mistaken for: • A stripper • A hooker • A junkie • A crack whore • A drug dealer • A thief • A masseuse who gives happy endings • A witch. This repetitive misogynistic streak is in the service of painfully wacky gags, the vast majority of which land with a thud.

Blood Glacier is too sleepy to do anything with its guano-stirring premise. Yes, there are crazy-go-nutty monsters in the film, but you seldom get to see them as they sadly are not the focus of Blood Glacier.

At its best not in its scenes of men acting like children or the beats that feel more written than organic but in its most believable scenes of joyful, male friendship in between the broad humor and melodrama. I just wish there were more of them.

Decoding Annie Parker is not a movie to which this critic can give a favorable review. I’d feel more like a heel about it if the movie hadn’t actually irritated me to the extent that it did.

The end result is itself not especially intriguing.

This is an astonishingly bad film.

I’m upset because he’s doing such cheesy wire work, and because the CGI effects he’s interacting with are so lame.

The movie is intelligently written and well-acted, but it doesn’t sit all that comfortably between the two stools of Austenesque Romance and Socially Conscious Drama.

Al Pacino's "Looking For Richard" grappled with the great challenge of the play itself, and that monster of a lead role. NOW: In the Wings of a World Stage feels self-congratulatory in comparison, a cast sharing its fun photo album of a year-long vacation in "exotic" locations.

Riveting, original and breathtakingly accomplished on every level, Ida would be a masterpiece in any era, in any country.

Farmland is essentially just masquerading as an actual documentary. In reality, it’s a glossy corporate infomercial for American agribusiness.

It’s sufficiently giddy at first but eventually grows repetitive and wearying, especially as more and more stuff gets blown up real good.

Movies made over fifty years ago by the likes of Max Ophuls were more animated, more angry, more radical in their critiques of such injustice. So watch "Letter From An Unknown Woman" before you even think of checking this out, is my advice to you.

Early on, Alex Brendemuhl gives a quietly unnerving performance as Mengele, a polite and meticulously dressed gentleman living in 1960 Patagonia.

The signal virtue of For No Good Reason, a documentary about Steadman, is that it puts a lot of that work up on the big screen to galvanic effect.

The action may be serious, but Brick Mansions doesn’t take itself too seriously. It’s a ridiculous movie that has the decency to acknowledge that it’s ridiculous.

Young and Beautiful doesn't have the eerie power of some of Ozon's other films, like "In the House" or "Swimming Pool," but it is still a fascinating experience.

In the end, Locke is a cinematic stunt that engrosses as it unspools, and pays dividends after it’s been accomplished.

Trouble is, Cassavetes — working from a script by Melissa K. Stack — veers wildly between cautionary tale, revenge comedy, scatological raunchfest and female empowerment drama.

The bloody fingerprints of Quentin Tarantino and the Coen brothers — among other violence-prone auteurs — are smeared all over his tidy and tautly-told Blue Ruin.

If you look at a horror movie’s prime directive to be to scare the viewer, there’s no denying that, at times, The Quiet Ones got me.

A Haunted House 2 tones down the gay jokes but ups the streak of animal cruelty.

Farina’s talent is thrown away here; Cuoco is funnier on her sitcom; Klein and Polo you just kind of feel bad for. Hence, the only reason to watch this picture is for the novelty value of feeling bad for Chris Klein and/or Teri Polo.

Generally speaking, the museum seems like a modest, but vividly-detailed freak show.