The anomie of entitlement pushed to poisonous extremes is the basis of this provocation, which is as frustrating as it is intriguing.

Approaching the first half of the film fairly conventionally, Stewart then misses the opportunity to capitalize on shifting to more full-on genre mode.

Smurfs: The Lost Village is a mediocre effort that nonetheless succeeds in its main goal of keeping its blue characters alive for future merchandising purposes.

Will charm many arthouse patrons, though some highbrow-leaning art lovers will find the subject unworthy of such attention.

Although the humor helps, the Groundhog Day-like repetition gets tedious; it makes you feel more like a hamster than a groundhog — or rather a hamster's wheel, going round and round, over and over again.

The result is more promotional film - Springfield happens to have recently released both a new album and an autobiography - than intriguing sociology, although the rabidly intense middle-aged female fans on display are probably deserving of psychological study.

It has little to offer a well-informed viewer.

La Vie au Ranch boasts an undeniable authenticity. But how much you enjoy it will depend on your affection for its aimless if attractive characters.

Vivid if scattershot documentary examines today's sexualized culture by focusing on three subjects.

Kate Clere McIntyre and Saraswati Clere's less than revelatory documentary that incessantly makes the point that yoga is really, really good for you.

Their inside jape is unfortunately not as much fun for the audience as it may have been for the filmmakers, though it does have its piquant moments. But it’s not consistently entertaining enough either as a spoof or as a thriller.

Emphasizing local color but often unconvincing in its depiction of social customs.

Diehard fashionistas will likely want to see it, but few others will take notice.

A couple of scenes toward the end do generate the suspense that the whole movie needed. But the impact is too muted, and an air of tired familiarity ultimately curdles the entire enterprise.

Short on both romance and humor.

A dispiriting horror cheapie whose monsters-in-the-projects premise plays out like an anti-welfare parable.

Stronger in concept than execution.

While the idea of a German romantic comedy may seem like an oxymoron, What a Man proves an amiable diversion that at least has the distinction of not starring Katherine Heigl or Kate Hudson.

There is surprisingly little emotional resonance with the well-drawn and acted characters, making it a tiring two and a half hour trek for filmgoers who don't have a stake in the history it recounts.

A very sympathetic turn by Colm Meaney both lends box-office appeal and helps Byrne pull back from the saccharine possibilities inherent in the premise.

Heartfelt but clumsy.

The romantic dilemmas suffered by these twentysomethings may be universal, but their naive attempts to address them are hard to buy.

Remakes of '80s-era cult-favorite horror flicks seem to be all the rage these days. But they have to be better than this formulaic effort to replace the already not-so-great originals.

What should be a clammy exercise in claustrophobic, queasy tension becomes, in the hands of writer/director James DeMonaco, an underpowered compendium of over-familiar scare tactics and sledgehammer-subtle social satire.

Out-of-date animation throws up a roadblock for this Indian animated 3D family film.

Sincere performances and well-intentioned scripting should help it with vets eager to see their stories told on-screen, but the film's dreary, secondhand feel is hard to overcome.

Something less than monumental, The Monuments Men wears its noble purpose on its sleeve when either greater grit or more irreverence could have put the same tale across to modern audiences with more punch and no loss of import.

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