You know a movie’s in trouble when it’s most dramatic element is the breaking of a piñata.

Despite the performer’s engaging charisma, One Track Heart ultimately lacks the contextual depth to make it more than mildly interesting.

Speaking his (Rourke) lines in an unintelligible accent that occasionally requires subtitles and wearing a white suit that never seems to get bloody even when he’s stabbing people to death, the actor brings an undeniably fascinating strangeness to the otherwise familiar proceedings.

This farcical romantic comedy lacks the charm and star power to compensate for its contrived plotting and only mildly amusing situations.

Propelled by enthusiastic reviews, the entertaining but ultimately disappointing documentary will entice the fashion-forward and fashion-curious.

The film’s first half is a slog as Chism sets up the minefield for Wade, with every (fully visible) mine certain to explode.

The film overcomes its schematic plot elements with finely observed characterizations and rich dialogue.

Drift paddles aimlessly between plotlines, only finding its groove out beyond the break.

No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.

Viewers will suspect from early on that things aren't as straightforward as they appear, and Clark's screenplay addresses those suspicions only to the extent it must to justify its characters' behavior.

It’s a film that doesn’t always work but when it does you almost hear an audible click. Violet & Daisy has its share of these ah-ha moments.

Pretty, occasionally witty and not believable for a moment, Sophie Lellouche's Paris-Manhattan is suffused with fannish love for Woody Allen's films but hardly lives up to their legacy.

Barely qualifies as late-night cable television fodder.

After impressing well enough in his previous big screen directorial outings, Abrams works in a narrower, less imaginative mode here; there's little sense of style, no grace notes or flights of imagination. One feels the dedication of a young musician at a recital determined not to make any mistakes, but there's no hint of creative interpretation, personal feelings or the spreading of artistic wings.

A taut, efficient and ultimately evocative small-scale Western that benefits from tight scripting and proficient performances.

Playing the emotionally shut-down driver for an escort service, the actor provides what little interest there is to be found in this otherwise aimless depiction of urban alienation.

The pace is gently hypnotic and the topic fitfully interesting, but the format will test the patience of all but serious art-cinema fans with its narrow focus and chilly film-school minimalism.

The Source does hold enough anthropological value to please some audiences. Despite lacking the recognition factor and lurid tragedy of a phenomenon like Jonestown, the story should attract viewers on the small screen.

While its blending of philosophy and B-movie conventions will produce more bemused chuckles than converts, the film certainly earns points for sheer audacity.

While director-writer Liford...hits a bit of a snag with an abrupt mood shift in the last 15 minutes that doesn’t feel true to the prevailing vibe, he usually hits the perceptive mark.

The spare, tightly wound narrative ultimately turns on the hard-eyed, relentless efficacy of the plot, as well as the certainty of Reyes’ performance.

This lighthearted tale of repressed sexuality and marital woes seems to have a different kind of agenda, even if it often fits the mode of your typical mainstream rom-com.

The film is an inspiration for those seeking hope in desperate urban neighborhoods.

The Iceman is a vivid evocation of a remorseless sociopath sustaining a double life as a contract killer and devoted family man. Gritty, gripping and unrelentingly intense, Ariel Vromen’s film boasts richly detailed character work from an ideal cast.

Batmanglij balances emotional tension with practical danger nicely, a must in a story whose activist protagonists can make no distinction between the personal and the political.

The fact that the three actors who do most of the fooling around — Robert De Niro, Diane Keaton and Susan Sarandon — have a combined age of 202 pegs this as a sex romp for the Viagra crowd.

But even if What Richard Did is sometimes a little too understated for its own good, this is still a classy piece of work which convincingly captures the emotionally complex, morally murky texture of real life.

Although the film may not always be as aesthetically involving as better-budgeted productions, the performances are really the point, so by keeping focused on her actors Seimetz succeeds in making it all work.