The results may be sports-movie predictable in many ways, but the Mighty Mites’ impossible story is one deserving of resurrection from the dusty archives of Texas history.

Isn’t bad, but it seems unnecessary. It’s even a little bland.

At the very least the film can be congratulated for being anarchic enough to explore an attraction between the two oldest Brady kids, Marcia and Greg.

It's an interesting spectacle, but not enough to carry a movie.

One must be very, very, very, very, very interested in Yorkshire, circa 1980, to embrace and enjoy The Red Riding Trilogy. And yet ... there is something to be said for an enterprise this specific and uncompromising.

Despite most everything else in the movie being predictable, Bray’s mystery is hard to guess.

Director Sidney Lumet takes another shot at New York City police corruption in his new film, but despite some solid performances, Night Falls on Manhattan fails to deliver the passion of such Lumet classics as "Serpico" and "Prince of the City."

The movie's gimmick for airing the contents of a woman's head is not unlike that used for the dogs and tots in those "Look Who's Talking" movies.

Exhilarating but blatantly biased.

A Cinderella story with star appeal going for it and everything else against it.

Entertaining, but it's about one notch below being something anybody really needs to see.

Your heart will go out to Shlain, who clearly adored her father. But other parts of Connected may remind you of an Al Gore lecture.

It would have been enough that Singleton raise these difficult questions without trying to wrap them up, too, in the last five minutes.

With In the Heart of the Sea, director Ron Howard has given us a painstakingly crafted bore, a lovingly rendered snooze, and a very expensive means by which audiences can experience restless leg syndrome before being carted off to the land of happy slumber.

A relentlessly earnest teen film.

Joy never completely loses its way. But it almost does, and it never quite arrives.

If you’re looking for scenes of big, awful creatures fighting each other and knocking over skyscrapers — and for the spectacle of people scurrying below, running from the huge stomping feet — you will find little to dislike in Godzilla vs. Kong. It does its job. It’s a monster movie.

The terseness of Hosseini's prose has been replaced by the sentimentality of the director's approach.

Ting’s conceptually solid film is briskly paced, and its heart is in the right place. With a more fine-tuned screenplay, it could have been better than a serviceable movie.

A silly Hong Kong action flick from actor-turned-director Corey Yuen, fits nicely in the "bimbo fu" genre.

The story is too slender for its two-hour running time, and the pace is lugubrious, as though everyone in front and behind the camera were depressed. But the biggest obstacle is the protagonist (Joaquin Phoenix), who is almost without definition.

Really doesn't pay off much.

A little like spending the holidays with strangers. The spirits are high, the relationships are warm, the personal stories have a shared history, and even though you're on the outside of things, you appreciate the people in a remote and perhaps admiring sort of way. Still, when it's time to leave, you're not sorry.

It's merely adequate, with one riveting element but limited chills.

The most notable thing about Hop is its technical perfection. It puts live action and animation into the same frame so seamlessly that the filmmakers might easily not get credit for it.

The picture never comes out from under the weight of its dreariness, despite fine acting, foot chases and conspiracy theories galore.

The main problem with "Pretty in Pink" today is simply that the entire section involving Jon Cryer, as Ringwald's pompadour-wearing best friend, is excruciating to watch. It must have been equally excruciating to perform. Basically, any time Cryer is onscreen, the story ceases to advance. He is there as comic relief only - or comic filler - but there's nothing funny about either the role or the performance. Still, there's a really good, perceptive 50-minute teenage story buried in this 96-minute movie. And a pretty good time capsule, besides.

The narrative doesn’t generate much interest; the nature of the ultimate ending is discernible from a distance, and the movie’s message about nature and the natural order seems forced. Still, there’s a lot here that’s impressive. Lamb is too vivid and original to forget.