It is 140 minutes long and repetitious beyond belief. Yet for all its weaknesses - unconscious contradictions, travelogue simplicity and mix-and-match spirituality - Eat Pray Love is, like its central character, on a genuine quest.

Does nothing to elevate the form — and yet it doesn’t disappoint.

Dumb Money is a tale of 2020, and the movie captures that 2020 feeling — gray, depressed, anxious and almost comically miserable.

Grossman does a workmanlike job with the film, but his direction and script don't really offer any great insight into Darby's tortured soul.

A tender, unforgettable comedy about a vanishing way of life.

What makes Rampage especially enjoyable is the way it sneaks up on the audience. Before casting off every shred of dignity and abandoning itself to good-humored excess, the movie passes itself off as a reasonably serious science-fiction movie.

Norman Bates is alive and well, and just a tad kinkier than you remember him.

Cop Land isn't a perfect piece, but it's sober, wise and adult.

The documentary is interesting as a human story. And anyone who loves the Kuchar brothers' films or underground cinema in general will take extra pleasure in it.

It’s not an exciting film, and it’s not a film with some wider social relevance. But it’s a film that’s wise about people in a way that’s rare. It also launches Dylan Penn, and someday that will matter.

This flick is a summer diversion, pure and simple, so don’t expect a deep message.

It all makes for a very different type of summer-movie experience, one far removed from superheroes and special effects. Best of all, you need not have read a word of Dickens to be captivated by the world that Iannucci has created.

Bound by mother-daughter ties that are complex, touching, ultimately so powerful they yield the kind of tearful joy rarely experienced at the movies.

Although we know the outcome, Silicon Cowboys feels like a suspense thriller.

Any movie with Meryl Streep is an occasion, but when you add Diane Keaton, Robert De Niro, Leonardo DiCaprio, Hume Cronyn and Gwen Verdon, you've got an embarrassment of riches.

It's a life worth remembering.

The engaging HBO documentary Rock Hudson: All That Heaven Allowed, both a guilty pleasure and meaningful slice of queer history, delivers a loving yet irony-laced tribute to a closeted movie icon whose tragic death from AIDS changed the course of the epidemic and cemented his place in LGBTQ lore.

Presents an almost fawning portrait of the doctor-turned-surfer.

A spiritual successor to "The Pursuit of Happyness," but darker and more oblique.

It's still a spirited look - well written, beautifully acted, full of uplift - at lovably cheeky heroines on the march for a little respect.

Whatever it is, it’s the rare case of an intelligent disaster movie.

The film provides an intelligently imagined future world.

You also cannot help but think about what Baumbach has that Allen lacks: Empathy for his characters. Not insight into them, but empathy for them.

The visual style and lethargic pace can be frustrating -- at least if you're sober -- but the animated tragedy is still a success.

Downbeat but ultimately hopeful, it's a domestic tragedy that cuts clearly to the bone, finding emotional nuance among the family's knotty secrets and dense layers of subterfuge.

Has a wicked sense of humor.

Despite very little dialogue and only one actor with a speaking role, Arctic has a smart script. Something is always happening.

It’s not a question of believing it, exactly. Director Ridley Scott has simply made us want to be there, to wish we really were there, and to accept his illusion as the most ready answer to that desire.