Directed with aching purpose by Lawrence David Foldes from a script he wrote with Grafton S. Harper, the lavish-looking but hackneyed memory play is small-screen fodder at best.

A drama that is more contemplative at times than dramatic yet one containing several powerful moments.

Plot, character development and dialogue are so sparse that the screenwriters are fortunate they're not paid by the word. But this basic approach doesn't render it ineffectual. There's so little to go wrong that those who like their entertainment mindless and violent will find little fault.

Ultimately has the air of a home movie project blown up to feature-length proportions.

This flaccid psychological thriller keeps spoiling its own surprise by constantly signaling the big plot twist.

Ultimately, its success may depend on how emotionally satisfying audiences find this flirtation with Jewish mysticism.

A splendid idea for a film goes largely wasted despite a brave performance by Naomi Watts as a struggling actress trying to figure it all out in Hollywood.

Definitely acquired-taste material and will perform best in the hipper, bigger rooms.

Tedious portrait of a troubled Rolling Stone.

As bland and forgettable as its title.

Unable to decide whether it wants to be a rambunctious family comedy or a tender romantic comedy, the Dennis Quaid-Rene Russo vehicle strains to be both and ends up falling short of both marks.

The character and geographical jumps leave you in a muddle with thinly sketched personalities and confusing plot points. Worse, dialogue dense with nuance and shaded meaning flies by too quickly.

Despite its contemporary sheen, it's very old-fashioned in its storytelling and structure. Unfortunately, it's more muscle than high-formula, and it clanks, sputters and spins out in its pedal-to-the-story medal style.

Spends too much time on unconvincing romantic-comedy contrivances to be consistently engaging. Throughout the uneven film and its mixed bag of performances, the compelling point of focus is Diane Keaton's smart, funny, spot-on natural portrait of the formidable Stone matriarch.

The best two performances belong to Uma Thurman and Will Ferrell. For the film to work, though, the two best roles should belong to Tony-winning Nathan Lane and Matthew Broderick in the title roles.

While the 1977 Fun With Dick and Jane was a reasonably diverting sendup of conspicuous consumption with a subversive if not always razor-sharp comic edge, the new version... replaces smart performances with tired shtick.

An auspicious debut from first time Aussie writer/director Greg Mclean, film combines the style of cheesy horror films and the flair of classic thrillers.

This wannabe daring comedy about a man who attempts to "fix" the Special Olympics strains for that patented naughty and nice balance with squirmingly squishy results.

A fascinating historical tale is rendered with less than compelling results in this pseudo-documentary.

A feeble medieval epic with a lackluster romance at its center.

Deeply frustrating because of its brevity and its lack of solid information and historical context.

It might have been inspired by actual events, but End of the Spear is, literally and figuratively, simply too dull to make any impact.

A small-scale character piece that genuinely likes its protagonists: an overweight teen girl and an overage delivery guy. But for all its quirky touches, the comedy cleaves to formula in its depiction of how they challenge and change each other.

Packing in enough cliches for a dozen movies, this drama about a sensitive young man trying to achieve his dreams via the U.S. Naval Academy in Annapolis will best be enjoyed by the generation unfamiliar with "An Officer and a Gentlemen," "Top Gun" and any preceding boxing movies.

Roving Mars is bound to inspire hordes of young science geeks to dream about sending in their resumes. The rest of us may not feel so excited.

Designed to capitalize on the title and premise of the original but offers little to those who fondly remember it.

While screenwriter Howard Himelstein and director Mike Barker have done a workable job of drawing the Wilde social satire out of the drawing room, the film never quite manages to travel at the same buoyant velocity as the acerbic wit.

Written by "Final Destination" screenwriter Jeffrey Reddick, the film has its dubious pleasures, not the least of which is the extended sight of nubile lead actress Jenna Dewan in a bustier, high heels and killer miniskirt.