It's watchable and reasonably entertaining, to be sure. Eastwood doesn't make movies that are hard to sit through. But something in the film's point of view is off, not at cross-purposes, not contradictory, but incomplete, irrelevant and ever-so-faintly ridiculous.

You might need the assistance of a time machine to find a child who is clamoring for a Mr. Peabody & Sherman feature film remake.

It's all talking heads, clanging music, substandard graphics, long scans of Web-page headlines and Bowdon's heavily cadenced voiceovers.

Sweet and serious as it is, the second chunk of Seeking a Friend is the lesser of the two - and hard to reconcile with the more acidic comic outlook in the film's first half. The obvious movie referent is Lars von Trier's "Melancholia," a much nastier film in a much lovelier wrapping: This one lacks an eight-minute Wagner montage.

Alien 3 is pretentious and gimmicky by turns, resorting at times to silly B-movie tricks that undercut its seriousness and moments that can be anticipated from a mile off. [22 May 1992, P.D1]

For such a torment-filled story, the ending is surprisingly satisfying, with an important message that a lesser filmmaker might have telegraphed too much.

Disney's 33rd animated feature, and its first with characters based on real people, is a stunning movie with clever twists, vivid characterizations, insightful songs and a surprising harvest of revisionist history that manages to ring smartly as pure entertainment.

A viewer of the film misses any sense of what distinguishes a great Cartier-Bresson picture from a good one, never mind a bad one. And the photographer himself cannot have been happy with the short shrift the documentary gives to drawing, which occupied him through most of his last decades.

Sing is a tribute to struggling live theater.

A needlessly complicated and confusing thriller.

Directed with restraint by Craig William Macneill, Lizzie never quite gets to what made Lizzie Borden tick, but it’s possible no film ever could. But it remains an entirely watchable drama thanks in no small part to the charisma of its two lead women.

This film isn't boring - it's not scintillating or spellbinding, either, just pleasantly honest and moderately interesting throughout.

This is an ugly film, but with an undeniable allure.

Hartnett is naturally engaging, and one can see why, with the movie plummeting to earth, the filmmakers might decide to pull the humor ripcord. But here it smells of desperation.

It turns out to be just as bad as any routine French romantic comedy - illogical, inconsistent and sloppily written, a charmless, tasteless, witless waste of time.

Sure, not everything is great. Here and there, the movie goes out of its way to be sentimental. But The Lovebirds is a pleasing comedy, funny from beginning to end. That should be enough for anybody.

Mr. Holland's Opus is a glowing tribute to the unsung heroics of those rare, gifted teachers who make a difference in life. Richard Dreyfuss, in a performance that both touches and inspires, plays music teacher Glenn Holland.

A serious movie that slowly earns its emotion and enlists our involvement. Even before the finish, it’s goosebumps all around.

What makes the movie smart is its refusal to cast Troy, a difficult role well-played by Epino, as strictly a villain. Instead, Mendoza delves into the cycle of violence that can be passed down through generations.

After devising a sturdy frame for Neeson’s special brand of sorrowful mayhem, the filmmakers expertly fill in Run All Night with a series of charged action scenes, including a rare one in which Neeson chases after a cop car, instead of the other way around.

Things are a little off. The style is gritty 1970s-style crime thriller, but the morals are straight out of 2007, and the movie is set in 1988.

Succeeds in making the case that the hatred that seemed dead and buried 60 years ago is alive and growing and beginning to present itself once again as a threat to humane civilization.

Less a story than a series of complicated slapstick bits.

A must-see for Mamet fans.

Convoluted.

Places Myers firmly on the top rung of movie comics.

Sweet and harmless -- a beach movie in more ways than one -- but it doesn't run awfully deep.

Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.