Though it doesn't address all of their complaints, the movie makes an excellent case against those who seek blanket prohibitions against genetically modified organisms — and, maybe more importantly, against those of us who support such bans just because we assume it's the eco-conscious thing to do.

Schumer and Hawn know what funny looks and sounds like, and they lend their dialogue and gags — no matter how tepid — enough snap and personality to distract you, at least some of the time, from the utter laziness of the material.

Healy knows exactly the mix of comical bumbling and psychological tension he wants here.

From one moment to the next, it's possible to on some level enjoy the shaking up of tired conventions in a swordplay fantasy such as this and then to be dismayed by the lowbrow vulgarity of what's ended up onscreen. The film gives with one hand and takes away with the other, which can be frustrating in what's meant to be an entertainment.

The drama flows gorgeously and, unlike in many other franchises in which entries keep getting longer every time out, this one is served up without an ounce of fat. It provides all the tension and action the mainstream audience could want, along with a good deal more.

Warrior’s Gate has its own ridiculous internal logic, but lacks the goofy glee that accommodates suspension of disbelief to go with it.

Smart, unpredictable performances by Debra Winger and Tracy Letts and an uncommonly crucial score by Mandy Hoffman ensure that the picture's odd nature won't be misconstrued as indecisiveness.

The 31-year-old Chemla (Camille Rewinds) is a revelation in the title role and utterly mesmerizing and credible whether she’s playing Jeanne at 20 or at 47.

The pic relies almost entirely on the subtle comic gifts of its two leads, finding little in the way of plot to kick its characters into laugh-generating action.

Even for viewers who know much more about Burden than that thing with the rifle, it's almost certain to trigger a hunger for more.

Even though one could argue that Bruni Tedeschi was typecast here, she takes the role and runs with it, beautifully grading the different nuances of her headstrong character, whose outward exuberance clearly hides a lot of hurt and a fear of loneliness.

The latest schlocky actioner by B-master Herman Yau, Shock Wave is a workmanlike (yet protracted) genre entertainment that benefits from knowing precisely what it is and its place in the cinematic hierarchy.

Long Strange Trip is an affectionate and well-crafted documentary, but it would have benefited from a little more of this emotionally raw material and a little less fawning reverence.

Hounds of Love benefits from impressive control of visuals to build suspense and from the spiky performances of its fearless cast, flagging Young as a talent to watch.

It’s possible to enjoy the film as pure entertainment even without being privy to the superlatives surrounding it.

A solid backgrounder on a political operative many believe to have changed the course of U.S. history.

We are left with a powerful sense that her death was a tragic loss, both privately and publicly, but Can I Be Me never quite tells us why.

River ends with relief, followed by a reversal that’s the last thing you expect from this unvarnished, unsentimental tale of self-preservation: an act of quietly powerful heroism.

Combining guardedness and openheartedness in unpredictable ways, Kronerova and Novy deliver exceptional performances, turning the crystal-clear metaphor of ice swimming into a full-blooded emotional experience.

The doc is less interested in analyzing Ledger's acting technique than in impressing viewers with his overall creative drive.

Fashionistas will obviously appreciate this undishy but intimate doc, which is especially strong in its account of the designer's flowering as a creative teen.

The film makes its case methodically and persuasively.

A dynamic glimpse of contemporary Los Angeles funneled into an old-fashioned coming-of-age saga, Lowriders isn’t always persuasive, but it has plenty of heart.

Shea's intense focus on constructing an overly intricate plot isn't borne out by the film's visual style, which is more workmanlike than inspired.

Marino...is equally at home directing the broader physical comedy and sweeter bonding sequences between Maximo and Hugo, even as the overlong film's two distinct personalities never manage to coalesce into a self-contained whole.

A filmmaking decision at the end of the film thumbs its nose at us, with the language of editing seeming to contradict the message of Shoaf's screenplay.

Uneasily combining its determinedly edgy plotline with failed sentimentality, Flower is redeemed only by Zoey Deutch’s magnetic performance, which would be star-making if in the service of a better vehicle.

The good news for fans is that The Trip to Spain is no Godfather III. The moderately bad news is that this sometimes hilarious outing is the one in which the conceit comes to resemble a lushly produced, irregularly broadcast TV series.