There's a spark missing, and where it's missing is in Roberts' conscientious but all too reserved performance.

A fairly well-made film, reasonably directed by Eran, and it is a plea for women's rights as the Middle East gradually transitions from a tradition-bound society to a modern one.

Cuesta’s direction is all blunt objects, like a doctor performing surgery with a plastic fork from Burger King. But he shines in the more testosterone-charged scenes, including the opening terrorist attack with its tracking shots above and below water.

Alan Parker's picture is epic, lavish and fascinating. It is not a perfect screen musical, but it is spectacular and it works.

The constant shifting between today and years ago is, in and of itself, powerful.

After sitting through Takers with my stomach rearranged by hyperactive camera spazzing, I hereby formally request all directors and cinematographers to just get a grip already and STOP. WIGGLING. THE CAMERA.

This is a movie about power, and its spectacle is that of a woman losing all of it.

Though hardly anybody’s idea of a jolly time at the movies — and not nearly the equal of Florian Zeller’s previous film, “The Father” — “The Son” provides an arresting and unsettling experience. It’s an interesting movie, and different.

Only partly successful.

It's an observant and heartfelt film, with turns of dialogue that show that writer-director Josh Radnor really can write.

Will wring some laughs out of anyone but the most humor-impaired.

The result is Allen's weakest film in years.

A Christian-themed film about redemption with almost no redeeming qualities as entertainment.

Hoodwinked is a computer-animated, "Shrek"-style satire of "Little Red Riding Hood" that offers a few laughs but overall is pretty tired.

At times, the script gets too dense with technicalities and boardroom arguments for lay folk to comprehend. But at its best, it humanizes the plight of families who cope day-to-day with disabling illness

Uncharted isn’t a classic, but for an action movie coming out in the doldrums of February, it’s practically Citizen Kane.

The Chamber has nowhere to go and it goes there slowly, flirting in all directions.

“The Legend of Hank” offers a few hints of the wit and wisdom of its predecessor but is mostly content to coast through a familiar story on the accumulated charm of its star-studded cast of voice actors.

The makers of Into the Blue know what the audience wants. And they deliver a little bit more.

Involves two mysteries -- one it gives away and the other featuring such badly drawn characters that its outcome hardly matters. But the picture looks great.

Yet there's no getting around one awkward fact. The picture, which turns on a cataclysmic act of terrorism within U.S. borders, was made for a different audience from the one that's about to see it.

A thoughtful but uneven teen picture, also has too much going on.

Misbegotten mess.

A hostage drama that oscillates between soap opera and action flick.

Eventually, Angela comes to understand that it is she who is being reborn. Dare we call it a "grow-mance"?

House of Spoils suffers most from genre hybridization. The more explicit horror moments feel grafted on to what is essentially a character study with mystery elements. But as “Speak No Evil” recently demonstrated, Blumhouse no longer signifies low-budget, terrifying horror. The brand has become shorthand for movies lacking clear identities.

Murphy seems committed to pushing his hostile vision, and that in itself is interesting. [01 Jul 1992]

Connects on a gut level in two ways, political and existential.