Alternately tedious and bombastic, the film never achieves a consistent tone, and the characters and situations, while seemingly played on a realistic level, are neither remotely credible nor satisfyingly surreal.

The film doesn't quite manage to sustain interest for the duration of its 86-minute running time. But it does exert a certain voyeuristic fascination, thanks in no small part to the eccentricities of its central figure.

Telling an obviously lived-in tale, this small-scale indie drama suffers from a compendium of cliches.

While it does render scientific and philosophical principles in a highly accessible format, the film is nonetheless a real chore to sit through.

An embarrassment to all concerned, the film was written, directed and produced by Soderbergh for reasons that are not readily apparent.

Packing in enough cliches for a dozen movies, this drama about a sensitive young man trying to achieve his dreams via the U.S. Naval Academy in Annapolis will best be enjoyed by the generation unfamiliar with "An Officer and a Gentlemen," "Top Gun" and any preceding boxing movies.

If state-of-the-art cross-gender fat suits and drunken Chihuahuas were the stuff of comic genius, Big Momma's House 2 still wouldn't be very funny.

Colorful, noisy and brimming with special effects, the picture may please young audiences simply looking for loud action, but its corny storyline and brittle lack of warmth may discourage both parents and children.

Prolific Hong Kong lenser Johnnie To delivers another solid action picture with this latest effort, a cops and robbers yarn with social commentary mixed in along the way.

A pleasant if pedestrian British romantic comedy.

Stylish and well-observed while ultimately not adding up to very much.

Nothing von Trier presents here, whether real or imagined, is fresh or new.

Roving Mars is bound to inspire hordes of young science geeks to dream about sending in their resumes. The rest of us may not feel so excited.

Long deemed unfilmable, the 18th century novel finds the perfect interpreters in director Michael Winterbottom and actor Steve Coogan.

A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.

It might have been inspired by actual events, but End of the Spear is, literally and figuratively, simply too dull to make any impact.

Unfortunately, there's little wit or genuine suspense to elevate the proceedings above the level of a cheesy comic book.

A small-scale character piece that genuinely likes its protagonists: an overweight teen girl and an overage delivery guy. But for all its quirky touches, the comedy cleaves to formula in its depiction of how they challenge and change each other.

Stirring tale of a team whose big win speeds the integration of intercollegiate sports.

Queen Latifah finally gets a vehicle that gives her formidable talents and expansive spirit plenty of blooming room.

A feeble medieval epic with a lackluster romance at its center.

Deeply frustrating because of its brevity and its lack of solid information and historical context.

Arlyck's artful use of "then and now" images illustrates the relentlessness with which time moves forward. Youth is, indeed, elusive. His seductive film is a retrieval mission and, as such, it is ineffably sad.

Fateless is both haunting and poetic. It also is visually stunning.

Eli Roth turns to modern-day Asian fright filmmakers as inspiration for his latest blood-soaked effort while demonstrating an intriguing, original voice of his own.

The film doesn't have much in the way of genuine laughs despite a plethora of attempted gags, but it does have a geniality that makes it hard to entirely dislike.

Attention, Ben Kingsley (I mean, Sir Ben Kingsley): It's officially time to turn in your Oscar.

A surprisingly frank effort that demonstrates that the country's censors may be loosening their reins. This well-acted portrait of a young single mother displays a universality that should translate well to the art house circuit.