Stritch is a documentary subject as fearless and raw as her stage persona.

This is a surprisingly old-fashioned disaster movie. In point of fact its old-fashioned-ness is really the only surprising thing about this eye-popping 3D spectacle.

Omar is a thriller and a romance, with unabashedly melodramatic elements (there's even a love triangle), all of which are brought into stark relief by the Israeli-Palestinian conflict.

Costner responds by bringing an easy integrity and seemingly effortless humanity to his part. And hence making a messy, meandering and silly movie rather more watchable than it deserves to be.

The New Black is an informative, measured, and never-not-engaging documentary about the emergence of LGBT consciousness in African-American communities across the U.S., and particularly communities with a strong church presence.

If you DON'T go into this movie knowing it's a sequel, you're gonna have at least 20 minutes of rough sledding ahead of you, because there's no recap from the first movie.

The word convoluted does no justice to just how poorly designed Girl on a Bicycle is. It is also stereotypical, unfunny, unromantic, absurd, sitcomish, insulting to several European ethnicities and a slave to what Roger Ebert used to call "The Idiot Plot Syndrome."

It is less of a horror flick and more of a suspense thriller with sci-fi elements that possesses both brains–some sacrificed in messy fashion, of course–and a heart, as it makes a statement about an imaginary social issue that reflects those conflicts facing our country today.

Pseudo-sensitive bro-dude rom-com Date and Switch comes out today, and it already feels dated.

Cusack's distinctive handling of his sullen poet offers an opportunity for Adult World to make a statement about youthful ambition and middle-age disillusionment beyond Billings dubbing Amy and her peers as "Generation Mundane." But the film just stops short of truly achieving that goal.

The movie offers the most psychologically complex screen portrait of a Native American character in at least twenty years, probably more.

Winter's Tale probably won't please anyone: neither fans of the book nor those who have never read it. It lacks visual splendor (except for one or two scenes). It lacks emotional depth. It lacks scope and magic.

It's awfully tasteful and emotionally detached in its blissed-out depiction of beautiful young people cavorting in the sunlight.

The film's best asset, and the thing that elevates it above the 1986 version, is how well it is cast.

The main thing wrong with Robocop is that it's dumb, and it's trashy, and it's both of those things in a not-good way.

Both David-Stahl and Bell are appealing actors but unfortunately their easy-to-relate-to storyline is pretty much upstaged by the rowdy air-sex scenes.

While it does profile the work of brilliant dancer, the film also contains two complex and moving love stories as well an account of a physically devastating tragedy followed by an extraordinary tale of struggle and survival.

But because the movie is at heart as fake-sentimental as any other such motion picture, or greeting card, or what have you, there's a lot of backpedaling after, say, a random attempt to milk laughs out of human trafficking.

You wish the material were more consistent for these two. Some moments are screechy, others aren't deeply emotional enough. The in-between moments in which LaMarque hits just the right note can be charming, though, and they promise better things to come.

My hunch is that most viewers, whatever their previous views on this fraught subject, will come away not only fascinated but largely convinced by Murmelstein.

7 Boxes is both a tense and frightening crime film as well as a sometimes-dreamy evocation of life in the sprawling underclass, its hallucinatory aspects, its chaos and violence, its fantasies.

The Outsider is a subpar version of "The Limey" starring a subpar version of Terence Stamp.

Heart alone does not a good film make.

It is ridiculously lurid trash from start to finish and anyone trying to argue otherwise is as crazy as its central character. However, while its aim may be low throughout, it at least comes close to consistently hitting its targets.

Everything in The Lego Movie is, indeed, awesome.

Lack of specificity in the writing aside, the opening of Brightest Star — which had its title changed, to no avail, from "Light Years" — tells the viewer loud and clear that this trek is not going to lead anyplace new.

There are two scenes in Jason Friedberg and Aaron Seltzer's Best Night Ever that work: they are screwball and goofy which, unfortunately, only serve to highlight the fun film it could have been.

A thin, problematic and amateurishly-made documentary, 12 O'Clock Boys plays like two films awkwardly grafted together.