The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.

The reclamation project that Ben Affleck calls a career continues with The Town, his second directing effort that would impress more if the first try weren't so terrific and visually similar.

Never Here is a moody inversion of the stalker genre, less of a thriller than a Lynchian thinker. Thoman has a bright future and we'll say we knew her when.

It's a heady blend, at times requiring more speechifying than throwaway pop deserves. But it keeps one guessing between ill-staged and frenetically edited fight scenes. Directors Anthony and Joe Russo handle vehicular mayhem better.

What lifts Equity above ordinary corporate melodrama is its staunchly feminine perspective, and not only in its lead character.

Whatever she lacks in filmmaking expertise or originality is balanced by an unadorned sincerity in the melodrama she chose for a debut. Down in the Delta isn't a great movie, but it constantly touches your heart and involves you with its characters. [25 Dec 1998, p.5]

For the most part, the performances can raise goosebumps, especially whenever Lea Michele, Amber Riley and Naya Rivera open their mouths.

This is among the funnier entries in the cancer-kid genre, flawed yet affable, with no fault in its dweebly charismatic stars.

It can get a bit redundant but always remains interesting, as young lives take shape on an asphalt oval.

It isn't a movie to embrace (except for Leguizamo's brilliance) but it deserves one of Noxeema's air kisses - a passing, passionless show of affection, and then we're off to the next party. [08 Sep 1995, p.8]

Now and Then is much better when Hoffman, Ricci, Birch and Aston Moore draw us into their clique, with all their worldly poses and brittle facades. [20 Oct 1995, p.12]

Romantic charm and racy humor in a neatly arranged package anyone can appreciate.

These are minor quibbles with a stunning achievement. For All Mankind rewrites history, creating a single glorious adventure from a generation of giant leaps for all mankind. [20 July 1990, p.7]

Eat Pray Love is like one of those rich dishes Liz consumes in Italy; robustly flavored and guiltily pleasurable.

Anything men can do women can do dirtier, funnier, fresher, since distaff raunchiness shows no signs of going stale and isn't contained to Melissa McCarthy.

It will mightily preach to the choirs of concerned citizens, and be ignored by anyone else.

A sequel needs to hit the ground running faster than Divergent does. Find more notes for Woodley's elegantly plain face to express.

Muppets Most Wanted is pleasant enough to recommend as family entertainment. But the movie falls short of what immediately preceded it, musically and emotionally.

True Story may someday be used in both acting and journalism classes, the former for what students should do, and the latter for what they shouldn't.

Appropriately, the best jokes in Trainwreck are unprintable, or too winding to describe. Schumer's sexual vocabulary and observational skills get a workout, surrounded by an occasionally surprising cast of foils.

Kingsman is as violently kinetic as anything Vaughn has made, a list including Kick-Ass (the good one) and Craig's U.S. breakthrough, Layer Cake. But Kingsman is also wildly uneven, often slowing its roll to stiff-upper-lip pacing necessary (or not) to create a new British secret agent movie mythology.

King's book isn't hallowed literature, just a little vicious fun, if 1,100 pages can be considered little. This is the spooky, overlong movie It deserves and It deserves that sequel. Float on.

Non-Stop mostly works by being aware of what other jet-in-jeopardy flicks have done before, adding a spin here and there. Nothing Hitchcockian but more ambitious than a Neeson action flick needs to be.

Succeeds where "Thor" didn't and the "Incredible Hulk" hasn't, twice. Unlike those drags, director Joe Johnston keeps things relatively simple and pleasantly stupid.

It is interesting even when nothing much happens, which is for most of its 3-hour running time.

Gang Related isn't perfect; the plot does get a bit far-fetched at times, bordering on ironic overkill, and the last 10 minutes of bloody revenge is needlessly out-of-synch with the rest of the movie. You walk away from Kouf's movie not entirely happy about what it turned out to be, but overjoyed at what it is not. Sometimes, that's good enough.

22 Jump Street is a mixed bag of clever spoofery and miscalculated outrageousness. The unveiled homoeroticism of practically all interaction between Jenko and Schmidt is amusing to the point when it isn't.

For all of its carnal frivolity, The Wolf of Wall Street lacks passion and purpose, qualities Scorsese at his best has in abundance.