Molina's story is worth telling. I suspect that, in this form, it will reach some of the at-risk youth who are clearly his target audience. But for myself and most folks expecting a movie, it is too transparent an infomercial for the church to move the mountain.

In the few moments where he's left to prank people on his own, Bad Grandpa doesn't treat him like the clichéd potty mouthed kid out for shock value. Instead, he uses his childlike innocence to make the adults more uncomfortable than his grandpa's raunchier shenanigans ever could.

The result shows the human stakes and often punishing difficulties of challenging entrenched powers and interests.

While there have been plenty of movie romances not unlike this, there's never been one told in such an ambitiously immersive way.

What works for him (McCarthy) in a novel cannot be said to work for him here.

Running only an hour, this documentary is as emotionally heavy as almost anything twice as long.

The film feels like a first draft. But then there is the music to celebrate.

As a piece of filmmaking, Torn is slightly above TV-movie quality.

Two Jacks is finally more of a curiosity than a viable dramatic event, but its bringing together of Danny and Jack Huston in a pair of tales related to their filmic legacy makes it a pungent if small addition to the legend of the Huston family.

The makers of this high-concept comedy lack the courage of their gross-out convictions. Being loud, and tasteless can also be funny, but if all you've got to offer is bad racial humor, and dopey sex jokes, then you are the F@4k-You Man Eddie Murphy jokes about in "Raw," the guy who cluelessly tries to make people laugh by cursing a lot. Ghost Team One also panders to viewers, and does a lousy job of it, too.

One of those films that expends so much time and effort in trying to become the next big cult sensation that it never gets around to simply being a good movie.

Once Haunter's story snaps into focus, and its creators pull you towards its inevitable conclusion, the film's flaws become that much more apparent.

Yeah, it's a mishmash of good, strange ideas and generic nonsense, barely held together by Sly and Arnie.

Kill Your Darlings presents a minor prelude to a major literary movement.

For a movie about a larger-than-life personality who shook up the world with his brazenness—and since has had to seek political asylum because of it — The Fifth Estate feels unfortunately small and safe.

Here is a formidable opus whose real spiritual relative is Tennyson's "Ulysses". Yes. All is Lost is that good.

For all the psychological realism of Carrie and Margaret's relationship, however, this remake has a comic book feeling.

A somber, meditative, almost poetic film that delivers the horrors of bondage stripped down and head-on.

Zero Charisma is a movie about emotionally inert people who labor mightily to change their lives in small ways, and whose efforts at self-improvement are thwarted by emotional feedback loops that cause them to make the same mistakes over and over. If it were possible to roll your way out of real world crises, these guys would do just fine, but there are no saving throws in life.

This one is especially obsessed with grisly details that contribute nothing to our fear or excitement.

I love this kind of backstage documentary, which is not surprising for someone who has "All That Jazz" and "All About Eve" on his all-time top ten list.

The end result proves to be as awkward as its title thanks to its uneven screenplay and tone, and questionable casting in supporting parts.

The balcony scene takes a tumble. This is movie's greatest disappointment. Really, if you can't get this right, then why even do Romeo and Juliet?

While some of the kills are sufficiently clever and gnarly, "Mandy Lane" is never particularly frightening.

Does not quite make the grade. For every great joke, hilarious anecdote, and keen insight, there are cringe-worthy dramatizations, narrative groaners.

A dark, weird, smutty, fitfully amusing comedy that ultimately wears out its welcome. As a provocation, it's aces, especially if — like the film's writer-director, Randy Moore — you hate Disney and everything it stands for.

The picture is assembled with energy and a smidgen of style, but it's tiresome and slight.

It's a lovely way to open a film that is at its best when it is displaying dancers in motion and exploring the complex dynamics of a rehearsal space.