An odd picture, a rumination on depression and self-discovery that's couched as an office comedy.

Insurgent would be a much worse movie if the good parts were all at the beginning. But they are saved for the end, and they leave the viewer with a feeling of, “Well, that was OK,” even though most of it wasn’t.

This brand of eccentricity does not suit Cusack. He lacks Cage’s manic gleam and irrepressible sense of play. Cusack comes off as glum and a bit lost, negating Miller’s effectiveness as bogeyman.

The movie is almost all conversations, most of which are intriguing and sensitively structured, with little action. It’s enough, but not worth changing the world for.

Sanctum is by no means a badly made movie, but it has the feel of one of those dramatic re-enactments made exclusively for Imax theaters.

Look, I Know What You Did Last Summer is fun, recapturing a ’90s slasher film vibe. It’s no “Bring Her Back,” the Aussie horror chiller released around Memorial Day, but it’s not meant to be...But kids, if you ever run into trouble on the Fourth of July, just call 911 and file a police report. You’ll be OK.

Unfortunately, Raising Cain is largely a retread of De Palma's vintage thrillers from the '70s -- an extended self-homage that makes you wonder if his imagination got frozen in 1980.

The King of Kings gives the Jesus story an animated treatment with some whimsical Dickensian touches. It’s nothing to write scripture about, but it should provide amusing and possibly enlightening Easter entertainment for younger children.

The main event here is Swank, who was a plaintive and sentimental figure in her earliest movies and has only fully come into her strength in youthful middle age. This strength makes Fatale an entertaining diversion and holds out the promise for something deeper and more satisfying in the future.

Certainly, the actors seem to be having a good time, even if the people they’re playing are utterly miserable. Hathaway’s comic timing has become a marvel in recent years, but Ejiofor, too, exults in the chance to throw off his usual gravity.

For sure, this is a cause movie - sometimes it even feels that way - in favor of charter schools and against the teachers unions. Still, Won't Back Down is reasonably fair in its approach.

The only people to feel sorry for in Transformers: Rise of the Beasts are Anthony Ramos (“In the Heights”) and Dominique Fishback (“Swarm”) who play actual humans trying to save the planet, when in real life they’re just humans trying to save a movie. They’re fine, but they can’t make a dent in the awfulness.

Low-budget, oddly cast and strictly indie all the way.

An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."

Transcendence looks and sounds like a Christopher Nolan film that got attacked by malware.

Gripping and ultimately poignant thriller.

Trade is a total misfire, a strange attempt at making a buddy movie featuring a morose Kevin Kline and a 17-year-old Mexican boy looking for his kidnapped sister.

The core fan base of this English sword battle drama will pay for the boundary-pushing blood and gore. Why bore them with things like plot and context and production values?

This vaguely funny film is also the saddest and most depressing movie of 2013.

Mafia Mamma is a one-joke movie, but it finds ways to keep that one joke funny for 100 minutes.

It's implausible, cartoonishly overdrawn.

Sweaty, filthy, miserable and well acted.

The new version is a weak facsimile of an already mediocre film.

At 100 minutes, it feels about 80 minutes too long, and that’s not a good sign. Lazer Team might have made a fun and pleasant short.

A very fine actor when he’s not directing bad “Insidious” sequels, Wilson is the only performer here who extracts conflict, growth and genuine wit out of David Leslie Johnson-McGoldrick’s surface-skimming script.

It’s Ice Road Truckers with a plot and concentrated, well-staged jeopardy. The film’s vibe is different from the History Channel series, but fans of that show will likely welcome the return of familiar thrills and predicaments.

The main thing to like about Stone Cold is that the movie is honest enough to have things go wrong -- so wrong, and in ways that are unexpected. [18 May 1991, p.C3]

What's lacking is an explanation for the relationship, and some insight into the origins of Rimbaud's art. The other big problem, aside from DiCaprio's twang, is his lack of chemistry with Thewlis. These are two fine actors, working in vastly different styles, who might as well be walking through different movies. At the end of the handsome, frustrating Total Eclipse, you'll be wondering who these two men were.