The pleasures of Gringo are the pleasures of genre: It’s a fun type of movie, but it’s not a good version of the type.

The title promises a film that never really materializes: something nastier, smellier, more nihilistic than the skittish morality tale at hand.

Incredibles 2 was 14 years in the making, and it feels almost that long watching it.

A pleasant but conventional film.

A meandering, slow journey with a fairly bland leading character. Director Kirsten Tan, who is from Singapore and based in New York, must be admired for the audacity of casting an elephant as a co-star in her feature film debut.

When Bertolucci points his camera out a window, it's like putting on your glasses. Everything is lush, drenched in color and right there for you to touch.

After nearly two hours of A Pigeon Sat on a Branch Reflecting on Existence, anyone who entered the theater on a Wednesday might wish for it to be Thursday, too.

At heart, ridiculous -- ludicrous in its conception and silly in its spectacle.

Never gets the mixture right, lurching between bullet-happy shootouts and overwrought domestic content.

A Woman, a Gun and a Noodle Shop has to be the loopiest, most unexpected remake ever.

Law often looks angry and frazzled onscreen. This time he looks angry and sure of himself.

Director Richard Linklater ("Dazed and Confused") should have taken a cue from the music -- the film needs a lot more snap.

It's the lightest of the Batman movies, the most cartoony, the dumbest and the least ambitious. But it holds the audience's attention, brings on a few laughs and never really gets boring.

It's a knock-off of every science-gone-too-far cautionary tale since Mary Shelley's "Frankenstein." The Lawnmower Man, for all of its au courant use of virtual reality, is alarmingly similar to a creepy '60s episode of TV's "The Outer Limits."

A menage a trois tale that aspires to the breezy screwball comedies of the 1930s -- but more often resembles a hip soap opera.

But there’s not enough in “Finch” to sustain an audience’s interest for a full 115 minutes. At 85 minutes, it might have been a touching and eccentric novelty. As it stands, “Finch” is something of a slog. A slog in good company, but a slog all the same.

The story gets away from itself as it barrels forward. The tiny bit of sense it makes at the beginning is quickly sacrificed in a conclusion so facile, illogical and cheap that it could use a dose of NZT itself.

When Pollack admits that he is not a documentary filmmaker and that he knows nothing about architecture, Gehry says that makes him perfect for this project. But the joke does not redeem the frustration Pollack creates by the choppy, restless views he gives us of Gehry's buildings.

Connery's charm and integrity make all his scenes worthwhile, and Lithgow's stiff-backed turn as the classic British imperialist is in good fun.

Abuse of Weakness is 20 minutes of a great movie and another 85 minutes of nothing much.

The pace is quick, very quick by American standards. The script blasts through reams of plot with lightning dialogue, and even if you have a fast eye for subtitles you may come to the end of the movie with no clear idea what happened.

It's more of a burst pinata than a story, a wild, kinetic jumble of images, ideas and flying-candy-bar product placement that would offend if it weren't so forthright.

The most daring thing that Jonze and Eggers have done is make a children's film that might not really be for kids.

A big, juicy bone for canine-focused humans, but much less of a treat for others.

Because he made "Eternal Sunshine of the Spotless Mind" (2004), there will always be high expectations for a new film by Michel Gondry. But while his new movie The We and the I, is intriguing in fits and starts, it isn't in the same league.

Free Guy is an ode to independence, creativity and the nicer aspects of anarchy.

This society makes no sense except as a metaphor. The social layout of Divergent was supposedly devised so as to maintain peace, but putting people into airtight factions guarantees conflict.

Not only is a good look at a man who carved a small but important niche into the folk world but a good record of the turbulent 1960s and what motivated its protesters.