As a stand-alone vehicle, the sensual and atmospheric Innocence is interesting enough to hold your attention to the end credits. But when you consider the source material, the film's flaws become too great to ignore.

There’s a difference between extending a story and deepening it. While this latest entry is thoughtful and stirring, it doesn’t exactly improve upon the elegant finality the series granted Tommy Shelby four years ago. Sometimes the most powerful ending is the one that understands when enough has been said.

Beautiful but flimsy film.

The technically elegant Voyagers, about a space colonization trip run amok, is easy enough to sit through, but it’s a story in need of more rocket fuel. There isn’t a bad scene in the movie, yet there isn’t a really good scene, either. It’s a quiet psychological thriller, even when it’s trying to stir mayhem.

A strange and thoughtful little movie.

Whenever Roberts is onscreen, Closer freezes and starts to atrophy. And when she's off, tender shoots of life begin to sprout.

Moreover, what the film lacks in temporal credibility, it amply makes up for in sheer rawness -- the rawness being literal.

Jones has many good moments, and “Don’t Tell Mom the Babysitter’s Dead” is a decent remake of a decent movie.

The movie might work better if the psychological puzzle tucked inside it were more engaging or surprising. But as the pieces fall into place, in a clunky resolution, the story turns as flat as the screens that contain it.

An informative and valuable documentary about the past 30 years of messy times in Peru, but it is also frustrating.

We end up with a movie in which it becomes very possible to respect the intent and yet be frustrated by the result.

If Insidious 2 exists solely because Insidious 1 made a ton of money, then at least credit Wan for making quality control a priority.

Levinson is careful not to make the Afghan people into buffoons, which is good, but it doesn’t change the fact that these folks are cardboard characters.

The filmmakers throw in an extended flatulence routine and enough graphic references to female anatomy to make "The Vagina Monologues" blush.

The superhero part of the movie will leave audiences with a flat feeling, thanks to computery-looking special effects and a sagging story line.

Here Today is a weird case — not mediocre, not lukewarm, but genuinely bad and good, cringe-worthy and moving. Take this as a recommendation, and a warning.

A promising idea turns into nothing, and we're left with a painfully dull kids' picture.

Oslo ultimately acknowledges that the Israeli-Palestinian conflict is anything but resolved, and shows why even this first, limited step toward settling it was so immensely difficult. Whether we’re in the mood to find it entertaining right now remains in dispute.

If one can accept the story’s videogame logic and cope with the kinetosis, “Hardcore” is often exhilaratingly extreme.

It’s brilliant, and extremely moving. One Week and a Day has its moments, just not enough of them.

In White Chicks, the gross-out humor is minimal, no character comes off too badly and lessons are learned. Oh Wayanses, where are thy teeth?

The always fierce Bassett is a little too fierce here, reacting with unwarranted emotion to each romantic twist and turn.

Has the three elements we've come to expect from Eastwood: the steady pace, the shadowy cinematography and, of course, the presence of the Big Guy.

Will have anyone over the age of eight squirming in their seats.

Hunnam makes a strong impression as a tough guy in the title role, but there’s something about either him or the filmmaking or the subject matter that allows viewers to resist making his problems our problems.

A strange film, because it seems designed specifically for extremely old moviegoers to see with their great-great-grandchildren.

So restrained that viewers may start to yearn for a bogeyman to burst from the closet.

There are some nice things to be said about Hairspray, the John Waters movie which opened over the weekend, but not enough to explain all you've been hearing about it. It's a fairly run-of-the-mill teenage dance movie, set in Baltimore in the early '60s, with a certain oddball humor that only occasionally lifts it out of its class. [29 Feb 1988, p.F3]