Although Andre Gregory's fans will find much here to savor, this rambling and unfocused portrait smacks of self-indulgence.

Dan Algrant’s lyrical recreation of a father-son relationship seen over time, through memory and music, has a sense of urgent originality that works even apart from its great Tim Buckley score.

What might have been annoyingly solipsistic proves mostly charming and poignant instead, largely thanks to Nance's cinematic ingenuity, but also because of his ability to both probe his feelings and hold them at a distance.

Despite the solid work of cast and crew, the film dawdles and fails to justify its two-and-a-half-hour running time. Midnight reaches its tender conclusion without ever achieving the emotional or dramatic heft that such an epic tale requires.

Delivering visual drama and understated character study, sometimes in disappointingly formulaic fashion, the feature has its incisive moments but falls short as both epic and intimate portrait.

Onscreen, it somehow manages to be at once wildly overblown and terminally boring.

Detour is a tautly efficient thriller that fully succeeds in making the viewer identify with its hapless protagonist’s desperate plight.

There's something about novelist Stephenie Meyer that induces formerly interesting directors to suddenly make films that are slow, silly and soporific.

Although it has a visceral intensity, this teen-centered prison movie doesn't avoid the familiar tropes of its genre.

Although Rulin displays a compelling neurotic edge as the driven Emily, Chenoweth and Modine are unable to breathe much life into their schematic roles, while the supporting players are basically saddled with conveying a compendium of quirks.

Despite its fast pacing and well-staged action set-pieces, the film fails to make much of an impression.

So fetishistic about high-powered weapons that it qualifies as an NRA wet dream, G.I. Joe: Retaliation pretty accurately reflects the franchise's comic book and cartoon origins, which is both a good and a bad thing: good if you're a 12- to 15-year-old boy, bad if you're just about anyone else.

Although there is incident in the film's second half...it doesn't build to the level of compelling drama, leaving the film in a quiet, temperate realm that scarcely makes the pulse race.

Bringing a much needed personal perspective to a war that has claimed thousands of American lives, the film nonetheless suffers from a hagiographic quality that, from everything we hear expressed about its self-effacing subject, would have disturbed even him.

If the premise isn't as attention-grabbing as Rubber's was, the execution should help build the filmmaker's following.

This endlessly derivative, nearly unwatchable effort from debuting Italian director Christian Filipella is amateurish on every level.

Offering nary a single funny moment in its seemingly endless 84 minutes, the film...provides evidence that cinematic sketch comedy is clearly a lost art. The inevitable outtakes seen during the end credits seem to indicate that the actors, at least, were having fun. Too bad none of it managed to find its way onto the screen.

Neville unearths a treasure trove of archival TV, concert and film footage featuring many of these vocalists in their heyday, balancing the material with perfectly-lit contemporary studio interviews and performances shot in pristine digital cinematography, supplemented by more informal scenes depicting the frequent challenges of these musicians' careers.

This nastily efficient horror film delivers genuine chills.

Danny Boyle has great and plainly evident fun adding twists and curves and tunnels and endless style to his modern London noir Trance, but he makes so many left turns that the film turns in on itself rather than going anywhere.

The ideal animated film for Ron Paul to watch with his grandchildren, the bizarre Silver Circle certainly deserves points for sheer eccentricity.

Features a winning performance by Sara Rue as its titular heroine but otherwise has little to recommend it. Playing a wallflower who blossoms when she finally meets the right guy, the actress has charm to spare.

Unfolding like an espionage thriller but with a methodical journalistic skill at organizing a mountain of facts, the film raises stimulating questions about transparency and freedom of information in a world in which governments and corporations have plenty to hide.

Costa's inquiry into that life offers a deeply felt angle on the broader realities of life in Paraguay during the '80s; while the intimate film is unlikely to expand beyond niche theatrical bookings, it will affect many who see it.

This would all be moving enough, but the film also benefits greatly from Conde’s endlessly charismatic personality.

Endearing performances buoy predictable film about love in the wake of divorce.

While virtually everything that happens in this grown-up rom-com can be seen coming a mile off, Danish director Susanne Bier’s assured touch and warm regard for her characters make the film both pleasurable and satisfying.

Generates a fair amount of tension and produces the kind of nationalistic outrage that rock-ribbed Americans will feel in their guts.