It's wickedly amusing for a little bit -- Robbins and Hurt really get into it -- but ultimately the film becomes what it's fighting: just noise.

Jessica Chastain isn’t just the reason to seek out The Eyes of Tammy Faye — she’s the only reason to see this curiously tepid biopic at all.

Screenwriters Jarrad Paul and Andrew Mogel, in an auspicious directing debut, are attempting to tackle emotional areas that can't be glibly resolved. Sure, they trip up a few times. But it's exhilarating watching them aim high.

Lacks the cumulative impact of "Boyz," since Singleton allows repetition and sermonizing to dull his theme about the infantilization of black males. But Baby Boy leaves you shaken.

As long as Green is onscreen, which is not nearly enough, Road Trip is easy to get revved up about.

Despite melodramatic lapses -- the gripping action recalls Walter Hill's 1981 "Southern Comfort" -- this is Schumacher's most ambitions film since "Falling Down" in 1993, and it plays to his strengths with young actors.

The movie starts out desperately wanting to be E.T. It ends by pretending it’s the second coming of Field of Dreams.

They Live, Carpenter’s 1988 paranoid freakout, deserves to be thought of as a masterpiece, an artist’s defiant last grab at substance before losing the thread. It’s a cheesy but lovable movie.

This oddball mix of "The Cotton Club" and "Six Feet Under" is a big, beautiful mess. But it offers the not-uninstructive spectacle of talented people stumbling over large and unwieldy ambitions.

Inspiration is what The 33 is selling. And it's hard not to get caught up in the rescue. You forgive the movie its faults, or most of them, because its heart is firmly in the right place.

There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.

Gadgets abound, especially a Lotus sports car that transforms into a submarine. But the scene-stealer is 7'2" Richard Kiel as Jaws, a shark-eating man with steel teeth.

You can’t say that Gyllenhaal hasn’t gone for broke with The Bride!, and the more you watch the actors give life to the central idea of a meeting of scarred bodies and equal minds, the more you feel like you’re watching something not just perversely over-the-top but personal.

Only fitfully funny, except when Ferrell is onscreen -- then you won't stop laughing.

The go-for-broke performances help make all this paranormal activity too much fun to care.

Higher Learning is seriously intended and seriously flawed. Singleton tends to shout his objectives. But in an era of cop-out escapism, it is gratifying to find a filmmaker who is spoiling to be heard.

Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?

Melancholy and doubt may seem like gloomy qualities to blend into an amorous romp. But that shot of gravity is what makes Magic in the Moonlight memorable and distinctively Woody Allen.

Lee's technique is impeccable, but he's chasing more inner demons than one creature feature can handle. No wonder the audience cheers when TV Hulk Lou Ferrigno shows up for a cameo. It's a reminder of a time when it was easier being green and a Hulk could just get pissed off and bust shit up.

Assassination Nation thinks its a f*ck-you punchline. It’s actually the film’s most honest admission — its one true self-own.

This is the vital city that inspired Fellini – alive and lived in. When an actor falters or a joke falls flat, Roma stays fresh and dynamic. You can't take your eyes off it.

Blending humor and heartbreak in a performance that makes a small movie a richly satisfying one, Caine truly is magic.

For the 148 minutes it takes "The Messenger" to deliver its message, being John Malkovich or Milla Jovovich is really no fun at all.

In his uniquely funny and unexpectedly tender movie, Stiller takes us on a personal journey of lingering resonance.

By the end of the film, the cliché of everybody getting along is reduced to both sides working together in the ultimate monument to capitalism: a mall. Some message.

Fine directors Scott McGehee and David Siegel take a detour into mumbo jumbo.

Let's hope that Ridley Scott follows his own blueprint better in the upcoming "Alien: Covenant." The dull and derivative Life is no competition. It's DOA.

You spend a good deal of Keeper forming theories about what’s going on, keenly sifting through clues in the hopes of possible answers. Once everything is revealed, however, you wish you’d gone back that previous ignorance that now seems like a state of bliss. To say that Tatiana Maslany is a saving grace here is obvious, given that she’s rescued a few projects from utter disaster.