An initially intriguing plot line makes a messy getaway in this throwback heist movie.

A cloyingly sentimental story that rings false in every moment.

The film is impeccable but distant, lacking in spontaneity and not very original.

Berenger uses his weathered visage and trademark intensity to good effect, but his efforts are undercut by the overwhelmingly cliched script.

Overall, "Moonlight" is a nuttily engaging tale of betrayal and, perhaps, redemption.

The impact of the quietly observant film builds until the unlikeliest of elements - an old Broadway tune, an empty garage, a conversation about fenders - detonate with long-buried emotion, anguished and tender.

This would-be tearjerker without the musical numbers of typical Bollywood fare is for die-hard Amitabh Bachchan fans only.

Unfortunately, writer-director Rebecca Miller's script tries so hard to be nervous and edgy that it ultimately succeeds only in making its viewers nervous and edgy.

A provocative parable about individuals at war with development and the global economy.

Director John Hillcoat has performed an admirable job of bringing Cormac McCarthy's Pulitzer Prize-winning novel to the screen as an intact and haunting tale, even at the cost of sacrificing color, big scenes and standard Hollywood imagery of post-apocalyptic America.

Marks Disney's rediscovery of a strong narrative loaded with vibrant characters and mind-bending, hilarious situations.

Insipid, predictable, broad comedy mixed with Disney Family Values makes for one exasperating sit.

Ninja isn't a great movie, but if you're in the right frame of mind, it is a bloody good time.

Christian McKay's impersonation of young Orson Welles is sensational in this enjoyable, though slight, historical fiction about a teen who spends a memorable week with the legendary wonder.

Bullock is an irrepressible hoot in writer-director John Lee Hancock's otherwise thoroughly conventional take on Michael Lewis' fact-based book "The Blind Side: Evolution of a Game."

There is a lot of very black humor; and it develops, somewhat surprisingly, into something suggesting a kind of cheerful pessimism.

This is a pretty minor film from the filmmaker. It feels like more of an exercise in plotting and movie nostalgia than a story about real people.

Once again, the three young leads give committed performances, with Lautner's character allowed a larger share of the spotlight this time around.

A perky though not terribly imaginative feature aimed primarily at youngsters.

The most affecting scenes, however, involve the class of Israeli teenagers visiting Auschwitz.

The sole redeeming factor is the presence of Olivia Wilde (Fox's "House"), who manages to keep the proceedings watchable for at least a portion of the running time.

This precision-controlled film once again highlights Alexander Sokurov's mastery of the medium. The third entry in his Men in Power series employs refined performances, a controlled script, excellent sound and fluid camerawork.

If one thinks of "Babel" minus the melodrama and histrionics, you get a clearer picture of what Moodysson has done here.

A low-key mystery that's initially engaging but ultimately lacks sufficient intrigue to sustain interest.

A prelude that provides the beams and columns for the narrative framework, but with a few decisive and spot-on action spectacles, it sufficiently kindles expectations for the climactic clash in Part 2.

Anderson has created a world as stylized and inventive as anything he's done... "Fox" is a visual delight.

Eye-popping special effects ensure that this movie will be a smash hit, and while it's entertaining for most of its excessive running time, the cheesy script fails to live up to the grandeur of the physical production.

Moverman adopts a functional directing style that gives full rein to the actors' impressive performances.