The brave men who fought and perished at the Alamo believed fervently in their cause. For The Alamo to work, the audience must believe as well. That never really happens.

A tough slog through emotional swamplands. It's murky when it needs to be clear. But Hedlund is the big news here.

By the time the credits roll, we don’t achieve a much deeper sense of who John DeLorean really was — only a better understanding of why this complicated figure continues to befuddle screenwriters. DeLorean probably would have preferred it that way.

There’s a Danish film called “After the Wedding” which was released here in 2007 and nominated for the foreign film Oscar. It didn’t win — it had the bad luck to be nominated against “The Lives of Others,” which was even better. But it’s a great film. The new After the Wedding is the American remake, and it’s fascinating. That is, it’s fascinating in that it’s not even close to great, despite using the same scenario. Indeed, it would be a real lesson in filmmaking to watch both movies back to back, just to see how to do things and how not to do things. And, just to clarify, the new After the Wedding would be in the “how not to do things” category.

Largely and insider's joke.

Still, if you love this kind of movie, you will at least like Honest Thief.

To label the parents in Wah-Wah dysfunctional doesn't adequately describe their wildly inappropriate behavior.

This is a film that works both for followers and for those interested in knowing what yoga is truly about. Hint: It’s not about six-pack abs.

The documentary seems equally divisive. Like most of Young's recent work, it's scattered and unsubtle.

Whenever the movie's point of view turns omniscient, and we're seeing events from the director's vantage point, Man on Fire becomes a blurry, shaky mess.

It's an interesting technique -- the blurring of reality and "movies" -- but Korine's objective is so narrow and mean, and his viewpoint so colored by smug, adolescent condescension, that Gummo comes off like a mean-spirited prank.

Directed by veteran British television director Tom George, “See How They Run” won’t impress demanding viewers, but acts as an a rather agreeable placeholder until the next “Knives Out” movie arrives.

While the fourth "Exorcist" movie may have unmitigated disaster written all over it, the finished product is somehow sort-of-kind-of not all that bad.

Yet it fails to enchant for a reason that might not be fair, but that's just how it is: We've seen outer space simulated so well in sci-fi movies that the real thing seems like old stuff.

The most Stillmanesque Stillman movie yet. It's about a mood, part wistful, part sardonic. It's about a time of life, about repartee, about the vivid character saying the unexpected thing.

Director/writer Kim Joo-hwan (“Midnight Runners”) builds tension deliberately and slowly over the 129-minute running time, delivering some undeniably chilling and visually unsettling images along the way. The Divine Fury doesn’t revolutionize the exorcism movie, but it does manage to shake it up a bit.

As Ella, Mackey shows that she can carry a movie and remain sympathetic, despite a script that sometimes works against her.

This is familiar territory for writer-director Nancy Meyers, Hollywood's queen of the chick flick. Her latest has charming moments and a hopeful message for despondent singles, but it lacks the emotional resonance of Meyers' "Something's Gotta Give" and the zaniness of "What Women Want."

Straddles a number of genres -- horror film, lovers on the lam, fairy tale -- and gives them all a cool, knowing spin.

Unfortunately, despite its ready-made storyline and some likable performances, the curiously inert A Million Miles Away never achieves liftoff, even as its hero does.

As a 110-minute diversion, as a source of some laughs, as an opportunity for two funny guys to be funny — and to be funny with each other — what’s not to like? Just go in not expecting much.

Distressingly predictable and not a tad scary. But as a parody of the genre, it's a scream, like the "Scream'' franchise, only funnier. It's as if all the ingredients for a thriller coagulated into Silly Putty.

The problematic result is not that The New Age is bleak -- bleak is fine. We all like bleak. The problem is that The New Age becomes static. [30 Sept 1994, p.C1]

In the end, What to Expect, isn't an inspired movie, but a manufactured one, but one with some laughs and some moments. Plus, it has Chris Rock, who gets to liven things up as the ringleader of a beleaguered fathers' group.

At the end of the day, it's all just a nihilistic trifle, yet before the final sign-off, we can't help but think twice about what else is lurking on the internet.

Ritchie is a director with no instinct for the audience, and he can’t hold things together for an entire film. He seems at a loss, from moment to moment, as to what he should emphasize.

Three story lines make up this tense movie, and while each has its strengths, they don't quite add up to a satisfying whole.

Diamonds doesn't shine.