A thriller element that has not been present in earlier Sparks movies is designed to draw reluctant male viewers to see the picture, but they won’t respond with the same enthusiasm as his core audience of woozy romantics.

This soapy effort about a prosperous businessman having a midlife crisis finds Perry working in the heavily melodramatic mode that marks his weakest efforts.

A moderately amusing but very uneven revisionist adventure with franchise and theme park intentions written all over it...This attempt by Verbinski and producer Jerry Bruckheimer to plant the flag for another Pirates of the Caribbean-scaled series tries to have it too many ways tonally, resulting in a work that wobbles and thrashes all over the place as it attempts to find the right groove.

The film's inability to illuminate the finer points of the rigid form, to define what separates the great from the good, proves frustrating for the outsider.

The movie does say a lot about female athletes and the changing role of women in American society, but in aggressively pursuing the formula, writer-director-producer Tim Chambers is prone to exaggeration and a moralizing tone.

As much a memorial as it is a docudrama and as such it will interest educators and students, and make for sober television. It's a pity, though, that more of an attempt wasn't made to understand the killer and explain such things as why no one apparently thought to phone for help or hit the fire alarm.

As easy on the eyes and ears as it is embalmed from any dramatic point of view.

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

Although director Alan Taylor manages to get things going properly for the final battle in London, the long stretches before that on Asgard and the other branches of Yggdrasil are a drag.

Once you realize the film is just going to be a string of encomiums against a backdrop of frantically edited archival material in which few shots are allowed to stay onscreen longer than three seconds, it's clear that no meaningful analysis of the woman's career or political agenda will be forthcoming.

Certainly delivers the goods as far as quantity of sex goes. But the quality will leave some cold.

The film tracks the history of the country, but viewers may feel the documentarian inserts herself too much into the story.

Though some of the movie's performances flirt with caricature (Siobhan Fallon's loud-mouthed aunt, Demi Moore as a brash and overtly sexual second wife), the movie has a center of gravity just strong enough to contain them.

Performances are strong across the board, and the movie offers a solid sense of place. But the mysteries, once explained, don't make a lot of sense.

After multiple "Saw" franchise releases, writer-director Darren Lynn Bousman goes it alone for 11-11-11, with at best tepid results elaborating an unconvincing premise.

An attractively designed but narratively challenged, one-note film.

Green has chosen for his focus to fall on Enrique, in many ways the least interesting character in his story, rather than the son or even the mother who is surprisingly protective and understanding.

Every character here is so squeaky-clean, and the prejudice as depicted is so toothless and easily overcome, that the film feels like a gingerly fantasy version of what, in real life, was an exceptional example of resilient trail-blazing.

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.

Walking With Dinosaurs takes rewarding advantage of a much bigger budget and state-of-the-art technology to bring its impressive collection of Cretaceous creatures to vivid life. But while the walking part’s pretty impressive, the talking part — not so much.

In Bodyguard, Khan seems to have a tongue-in-cheek awareness of his major strengths - able comic timing and a cartoonishly muscular physique - and in case that's not obvious enough, he flexes his biceps to the beat in the film's opening song and literally winks at the camera.

Areces is inventive and scary in main role, though it's impossible to sympathize with his madness. Other performances are gaudy but perfunctory.

Australia makes a modest contribution to the growing sub-genre of everyman superhero movies with Griff the Invisible, a sweet but scattershot debut from local TV actor Leon Ford.

Although the conceit of an ever-so-erudite child palling around with an exceedingly wise concierge might be workable in a novel, cinema tends to realism, and Achache is too much of a novice to bring it off. The cuteness grates, and the setups and philosophizing are generally unconvincing.

Sumptuously clothed in vintage fashion, pop idols Wu and Hsu may bring in a younger crowd otherwise indifferent to the dated subject, but their performances are unimpressive.

Besson responded to something in the story that prompted him to step outside his comfort zone, but exactly what that was is unclear in this well-intentioned but pedestrian retelling of a stirring true story.

Proves too anticlimactic for the audience to maintain interest.

Fleshing out now-familiar tales of misconduct and bad judgment, Palin investigation is entertaining but holds no dramatic discoveries.