Fassbender cuts a more prosaic, realistic figure as the tormented, romantic Rochester than did the screen's most celebrated performer of the role, Orson Welles, in the effective 1944 version.

Affectionate, funny and action-packed sci-fi spoof.

Think "Napoleon Dynamite" and "Little Miss Sunshine." In many ways, Win Win fits that mold, which should make it McCarthy's most broadly appealing movie to date.

Rarely do films from Hollywood emerge in such an inane manner. Its rote characters are inevitably in predictable situations with no subtext or subtlety to any of their predicaments.

Michael Dowse's aggressively unfunny film which seeks the lowest common denominator in nearly every scene.

The film is fresh and funny, but it is also meandering, at times vague and defiantly uncommercial.

It might even live up to that title: When it ends, you wouldn't mind a bit more, please.

On any number of levels, "Devil" is troublesome at best, offensive at worst.

Most exceptional is the visual style, which makes even the best animated 3D look like a poor cousin.

Director Patrick Lussier and his co-screenwriter Todd Farmer string together smash-up car chases, hyper-violent physical clashes, flying viscera and a dollop of sex and nudity with ludicrous dialogue and only a passing concern for logic in this high-octane trash.

The Grace Card is a surprisingly hard-edged, faith-based drama.

George Nofi pulls off a relative rarity in his feature film debut by creating a genuinely romantic fantasy suspense thriller.

The slapstick and action comedy interludes are haphazardly executed at best, and matters aren't helped by the film's incredibly ugly look.

Skateland is every coming-of-age-after-high-school movie you've ever seen with a formulaic plot and well-worn characters.

Militantly superficial and revels overmuch in its campy gay sensibility, but is sporadically fun if not taken too seriously.

There are eight individual decisions to be made here, yet Beauvois never humanizes any of his monks. The film instead consumes itself with songs, communal prayers and nightly meals.

Levesque, soon to be seen in an action movie, "Inside Out," that is probably more suited to his talents, is a reasonably engaging and likeable screen presence.

Squanders its timely illegal alien theme with a predictable and unconvincing story line that makes "Green Card" seem a classic by comparison.

Won't likely disappoint fans of men-in-drag comedy but doesn't offer much that's original or funny.

Manages to be effective even though the Indian drama is rough around the edges.

Director Will Cannon keeps the energy level cranked but over-amplifies the dramatics to shrill effect, resulting in an unfortunate tone that undermines the serious-minded intent.

The movie is a mixed bag, with many of the elements fun and intriguing, but since this is also a Michael Bay-produced movie, CG monsters and cartoon bad guys gum up a third act.

Director Jaume Collet-Serra provides a steady flow of suspense and a very Polanski-esque feeling of paranoia.

Whatever one's view of Christian evangelical beliefs, from strictly a horror-film standpoint the movie needs a better villain.

The clash of cultures isn't exactly groundbreaking but Qasim "Q" Basir's feature debut is told through the eyes of a young, black American Muslim, a perspective that has rarely been seen.

The predicable, overlong romantic farce has enough sass and sex appeal to appease fans of stars Adam Sandler and Jennifer Aniston.

Bound to disappoint diehard Winters fans while leaving the uninitiated baffled, Certifiably Jonathan doesn't begin to fully suggest the range of the comedian's brilliance and lasting influence.

Although scattershot in its approach and relying a bit too heavily on cutesy animation, Orgasm Inc. is an eye-opening exposé.