Has clear appeal for heartland Christians who are more concerned with uncomplicated edification than with storytelling. It would be more at home in the rec rooms of churches than in movie theaters.

The sluggish pacing and digressionary plot elements make the proceedings feel as slow as the gait employed by the film's undead supporting characters.

Most of the laughs seem unintentional and come too late in the movie — after several reels of serious build-up — for the audience to adjust to its tongue-in-cheek qualities. Making a good horror-thriller, or even a good horror-comedy, is not child’s play, as this schizoid film all too unfortunately proves.

It suffers greatly from obeying the imperative the first sequel established: Trying to blow minds and up the ante the way that FX-pioneering adventure did, this one offers a series of action set pieces that go from big to huge to ludicrous, even as the script's additions to fear-the-future mythology underwhelm.

Attractive and capably acted but oddly airless, the drama is a downer without offering much reward for our time.

At first, there's a certain cheesy charm to the Eurotrash '70s aesthetic, with a cast of minimally skilled actors spouting lines like, "Young lady, have you seen anything queer in the area?" But any resemblance to a coherent thesis is purely coincidental.

Awkward performances and dialogue undercut interest in the characters so much that none of their raw, fleshy deaths matter a hoot, and by the time the rip-roaring triple ending rolls around, many viewers will have lost count of who’s still standing and who’s food for the birds.

Despite the estimable talent on hand both behind and in front of the camera, the story never comes to convincing life and doesn’t, in the end, have anywhere particularly surprising or interesting to go.

Beyond a few scattered insights, Quest mostly remains on the surface of someone it portrays as a kind of culinary Prometheus, all the while failing to justify why that should be the case. It's like a tasting menu that never really turns into a full meal.

Superficiality reigns, but then a truly affecting scene will pop up.

Though its tone is amiable and its performances are (mostly) professional, it's hard to care if these four people live happily ever after or never see each other again.

The message tends to melt into a paint-by-numbers screenplay that pushes too many genre buttons to be thoroughly exciting.

With so many discussions to drop in on, each with its own stuff to show off...each sequence can only hint at what's fascinating about its field.

The film is overlong and wildly uneven (just as it was two years ago), but it benefits from a strong cast making the most of some sharp moments exposing the underside of male privilege and domination.

While Levin’s writing is sharp and observant, it’s also often overwrought and eventually just plain tiresome.

Cotillard, looking like one of the most glamorous white-trash fantasy figures in the history of the movies, has a hypnotic quality that will make you follow her character whatever she says or does.

A banal and patronizing cautionary sermon for lovestruck ladies torn between heart and head, sexy-dangerous bad boys and dependably dull husband types.

One imagines Godard spending whole days playing with dials, switches and buttons to discover the very moments he wishes to emphasize in his clips, and a good many of them are passingly arresting.

This is a picaresque road movie about two mismatched characters, with rookie director A.B. Shawky offering a motley and not entirely smooth cocktail of drama and melodrama, a dash of social critique and insight, some chuckles and a few tugs at the heartstrings, mainly by virtue of its near-virtuoso score.

The director and his actors never really make the Gu-Lu connection persuasive.

Sobel’s inexperience with the feature-length format and the requirements of specific genres shows, with Workers Cup constantly struggling to reconcile the horrible fate of what are essentially modern-day slaves with the aspirational side and dreams of victory and beyond that are the end game of any underdog sports story.

Quite funny for much of its running time, the film feels like it simply runs out of steam in its third act, settling for a lazy, pandering resolution and seeming happy to have made it to the 83-minute finish line.

The end result is pleasant but bland.

What keeps the material from feeling too scattershot is the vitality of Cassel’s performance, which is full of life even when he’s not always in the best of health. He’s a much-needed charismatic center that almost manages to keep the entire enterprise together.

Lorna Tucker's documentary profiling famed fashion designer Vivienne Westwood displays a genuine tension between the filmmaker and her subject that initially proves intriguing. Unfortunately, that tension soon dissipates, and all that's left is a much too cursory portrait of a figure whose fascinating life and career should have led to a more interesting film.

Mystery-wise, the film teases viewers pretty effectively, with plenty of jolts that suggest the boys are on the right track balanced by other signs they're making something out of nothing.... But with a couple of small exceptions, attempts to flesh out the teen characters don't work very well.

The leads all take this as seriously as possible, and Lennon goes the extra mile by investing scenes with Edgar's parents with believable emotional baggage.

This is the second feature from Pakistani-Norwegian filmmaker Iram Haq, but unfortunately it lacks the nuance and insight of her impressively poignant yet controlled debut feature, I Am Yours.