Amusing but scattered and unconvincing comedy.

Arthouse audiences could drink this down like a glass of Chardonnay.

While superbly acted, the dramedy plays out like a tepid "Big Chill" at best.

It's a good thing that forgiveness is a predominant theme of Woman Thou Art Loosed: On the 7th Day, because viewers will have to look deep into their hearts to forgive this kidnapping drama for its heavy-handed melodrama and tawdry plot elements.

As executed by an appealing ensemble of smooth operators, this adaptation often hits its amusing marks, but with a weighty running time of two hours, it often feels more like a lecture than an intended romp.

Emotions run raw in this behind-the-scenes look at drummer Patty Schemel and her drug-fuelled run with the 90s grunge rock band, Hole.

Stars Chris Diamantopoulos, Will Sasso and Sean Hayes are on the money as Moe, Curly and Larry in a film containing more plot and sentiment than the boys' shorts ever had.

Those looking for big, loud sci-fi action will find plenty to like here as director Peter Berg (Hancock, Friday Night Lights) pumps up the volume on clashing military hardware and flag-waving heroics.

Moves at an absurd pace and dares anyone above 25 to keep up, yet the stream of genre-hopping jokes and sight gags makes the movie an entertaining ride.

The fascinating human portrait that emerges should draw appreciative if limited audiences.

Directors Stephen St. Leger and James Mather fill the film's obvious narrative gaps with enough witty banter and tongue-in-cheek humor for audiences to overlook the subpar special effects used throughout.

There's certainly an audience for this sort of slick, self-absorbed comedy and the appealing casting augurs well for a brief theatrical run. But the film will most likely find its real home on the small screen, with attentive viewers curled up on the couch with a dish of ice cream.

As with so many films of this ilk, plot holes and inconsistencies abound, with audiences likely to express in loudly vocal fashion their opinions about what the characters should or shouldn't be doing.

Despite the filmmaker's obvious good intentions in trying to impart valuable life lessons to younger viewers, We the Party suffers from any number of problems, including uneven acting (talent isn't always hereditary); stereotypical characters and situations; and a manic visual style featuring the sort of split-screen obsession that felt outdated decades ago.

As with many films of its ilk, Surviving Progress takes on more than it can comfortably handle, veering haphazardly from subject to subject.

Intriguing but understated.

Following up "Humpday" with another low-rent charmer, Lynn Shelton moves from two- to three-character dynamics.

The wild card in all this remains Seann William Scott's Steve Stifler, the rampaging id whose indignation at his peers' maturity provides most of the film's real laughs.

Nanni Moretti's tender, funny and timely Vatican romp entertains, but lacks the director's customary bite.

An exercise in opaque supernatural storytelling that's as frustrating as it is beguiling.

You could point a camera just about anywhere at Comic-Con and record something weird, amazing, funny, stupid or all of the above.

Vuorensola's sci-fi comedy is uneven, its humor never quite matching the luster of its visuals.

Highbrow campus-comedy from long-lost Whit Stillman is a flawed but frequently hilarious comeback.

Amateurish vampire/musical mashup begs for a wooden stake.

Despite a talented cast lead by Halle Berry, director John Stockwell fails to take more than a bite out of this lackluster shark thriller.

Filmmaker Alan Govenar misses the mark in his attempt to document the historical French dwelling of once famous beatniks.

This is a movie drowning in flamboyant design elements and in need of a stiff shot of enchantment.

Benasra's documentary purports to be a sociological examination of the intimate relationship between women and their shoes. But God Save My Shoes also displays a creepily fetishistic feel.