Parker has made a tough, brutal, and often riveting thriller.

A movie like Make Your Move rests on the success of its various dance sequences, not its plot. And the dancing here is exciting, innovative, and specific.

As an actor, John Turturro is a stalwart, alert, engaging character player. As a writer/director, he’s one of the quirkiest, hit-and-miss narrative moviemakers around.

Bears also features nearly wall-to-wall voiceover, but this time it comes courtesy of John C. Reilly. His inherently likable, goofy sweetness shines through, making the material, um, bearable, if you will.

The most galling thing about Transcendence, though, isn't its inability to get a handle on what, if anything, it wants to say about the enormous changes happening to the human race, it's the movie's ending, which seems calculated to reassure us that everything's going to be fine as long as the right people are in charge, especially if they're good looking.

Unlike the recent "God’s Not Dead," which is the "Beaches" of faith-based films in that it embodies every single complaint against its genre, Heaven is for Real attempts to cast a wider audience net.

As easy as it is to like Hank and Asha, it’s impossible to look past the many screenwriting and filmmaking flaws of the film about them.

Austere and old-fashioned almost to a fault, The Railway Man offers tastefully safe treatment of a horrific subject.

It is just plain fun to observe Frost as Bruce while he happily shimmies and shakes his way to regaining his once-renown "feet of flames."

Watching Kristen Wiig's lived-in and alive performance as this blunt, practical, and yet totally innocent woman is to be in the presence of something very very special.

Like most of Jarmusch’s films, the emphasis is not on action but interaction—especially the verbal kind. And atmosphere.

If your moviegoing needs are driven less by a need to "feel good" afterwards and more by a desire to see something that will grab and touch you in ways that you will not be shaking anytime soon, this is the movie for you.

Oculus eventually becomes little more than a series of ghostly figures and twisted visions on its way to a cop-out of an ending that you'll see coming an hour away.

Rio 2 has exhausted its limited amount of charm. Most regrettably, Rita Moreno appears in her first movie in eight years as Jewel’s overbearing Aunt Mimi but is barely allowed to make an impression.

All of these interesting performers can't save a dull script. To work, Draft Day needs the kind of witty dialogue and snappy energy that Steve Zaillian and Aaron Sorkin brought to “Moneyball” but the screenwriters mistake constant activity for actual screenwriting.

While following a comfortable and familiar formula, Island of Lemurs: Madagascar accomplishes a great deal in its 40-minute running time, entertaining and educating us while delivering a message about preservation that’s clear without being heavy-handed.

The best part may very well be an actual 1932 silent movie, filmed on Floreana, and shown in its entirety in "Galapagos Affair".

She was a true talent. And yet Maloof and Siskel’s film presents an interesting moral quandary along with its profile of an amazing photographer. When does creative ability and the desire to share a true artist’s eye trump what has to be considered an invasion of privacy?

Amounts to a valuable if tremendously damning commentary on our current political culture.

I wonder how people will feel about the final moment of the film. I thought it was great, albeit extremely cynical.

A brilliant science fiction movie — more of an "experience" than a traditional story, with plenty to say about gender roles, sexism and the power of lust?

When you reach the critical point that you consider that Trejo, the star of such gems as “Zombie Hunter” and “Dead in Tombstone”, to be above this material, you know you’re in a rare category of awful.

Unfortunately, Afflicted is as emotionally involving as a really accomplished special-effects sizzle reel.

Beckerman intersperses the footage with static, loud and jagged, and the couple of "effects" included are quick and dirty. If you're going to go the found-footage route, you might as well try to find a new way to approach the material. Beckerman has.

I am probably indulging in a rather obnoxious form of criticism-as-parlor-game-psychotherapy by positing that each of the three main white male characters in director Denis Henry Hennelly's Goodbye World is meant to represent a facet of the director himself. Unfortunately, such activity is about all the movie is any good for.

More than any film in recent memory, The Retrieval made this reviewer yearn for the subtle softness and subliminal flicker of celluloid, as opposed to digital's sometimes overbearing brightness and clarity.

The rare film in this genre that serves as both entry point and continuation. For a change, you can walk in cold and you won't be too lost.

The drama Dom Hemingway explores involves a vicious lout finding a form of redemption, and while that's an all-too conventional scenario, Shepard's movie plays it out in a brisk, inventive fashion and delivers a moviegoing experience that's almost equal parts stingingly sharp and genuinely sweet.