Few films have so poignantly portrayed a father's relationships with his sons as The Boys Are Back.

It's almost laughably bland and watered-down in its desire to appeal to the widest possible audience. It won't succeed in that goal, but it has enough pizzazz to captivate undemanding tweeners.

Under Tucci's direction, Blind Date careens into tedium as the couple plays out permutations of a blind-date pairing.

One hell of a date movie. A surgical examination of the male psyche based on David Foster Wallace's book and written and directed by John Krasinski, there is plenty of food for thought and argument.

This is a typical Moore oeuvre: funny, often over the top and of dubious documentation, but with strongly made points that leave viewers much to ponder and debate after they walk out of the theater.

Unfortunately, whatever father/daughter, time/memory, music/therapy issues Jaglom is striving to invoke here come across as mostly psychobabble and immaturity.

The whole film, a comedy about crime and mental illness, seems at war with itself.

The splashy animation is well-executed but again a bit monotonous for a full-length feature.

The title is a good indication of this movie's blandness and predictability.

A campy pastiche of horror and high-school movie cliches, the film only rises above standard-issue scare fare by dint of Cody's sneaky sense of humor.

Paris is a bittersweet film containing rare moments of comedy.

An ambitious, visually handsome production which fails to ignite.

The story often appears a little unreal.

A slow meander through the mostly stagnant life of a character hardly worth the bother.

Bright Star may not be a joy forever but it will do until the next joy comes along.

Claire Denis, not always an easy director, is in top form here directing an almost all-black cast with grace and delicacy. For the happy few, this is French art house cinema at its unpretentious best.

Offers a brisk and eye-opening approach to recent history. The title, by the way, comes from Henry Kissinger.

Part musical, part love story, part family melodrama, part inspirational treacle, Tyler Perry's latest movie, I Can Do Bad All by Myself is something of an unholy mess. Alternately stupefying and entertaining, the film does benefit from a strong cast.

The lack of charisma exhibited by leads Jesse Metcalfe and Amber Tamblyn doesn't help matters, and not even the stalwart presence of Michael Douglas fails to provide the proceedings with sufficient gravitas.

The cast sparkles especially Simon Baker, a sturdy leading-man type, who is primed to break through any day now, and Paz Vega, already a star in Latin market.

Gabbert and Schein keep the focus on their subjects, interpreting their struggles through the ups and downs in the couple's relationship as they grapple with increasingly difficult issues. This character-driven approach draws viewers into the couple's struggle and prompts consideration of similar lifestyle changes.

There's little to distinguish this from the rest of the entries coming down the horror film assembly line, though the presence of Carrie Fisher as a shotgun-toting housemother who taunts the killer by shouting "Come to mama!" offers some camp value.

Do Quentin and Antoine represent ego and alter-ego? Or two warring desires inside the individual? This is the kind of hazy film open to almost any interpretation.

Seldom has such great star power been marshaled in the service of a sillier movie than The Other Man.

Yet for all the complex symbolism and visual brilliance, Blind Pig ultimately is an extended short.

9 never adds up to much. It's a dark adult film that gives itself over to the chases and frights of a kiddie movie.

Minor flaws and all, Crude represents a crucial document as much as any evidence put forward in the courtroom itself.

The technical barrage of visual and digital effects, quick cuts and strobe lighting does produce something akin to the sensation of playing a video game. So why, one wonders, don't potential viewers simply play one instead of watching this pale imitation?