Frustratingly devoid of any background information about the director’s storied career, the film is ultimately repetitive and tedious.

It’s especially sad to see such notable actors as Caan and Patric reduced to appearing in this sort of bottom of the barrel, direct-to-video fare.

The story makes 94 minutes seem as long as a season of Lost and as fresh as the seventh viewing of a Gilligan's Island rerun.

This sentimental French farce unsuccessfully strains for laughs while lurching towards its all too predictable denouement.

Despite its shameless manipulations and unsubtle approach, it’s an ambitious and well-intentioned feature debut from a director whose future efforts bear attention.

Labine and Punch invest their performances with enough anarchic comic inventiveness and genuine chemistry to make their characters’ courtship and relationship issues funnily entertaining.

A likeable cast of relative newcomers buoys the film, which never quite finds the sweet spot.

Voyeurs, at least, will relish the opportunity to ogle, in 3D no less, the frequently unclothed star as well as the equally gorgeous Bowden, who spends much of the proceedings clad only in sexy underwear.

A film as soul-sucking as any of the fang-baring bores who populate it.

The film relies heavily on the charm of its lead performers, and both rise to the occasion.

Despite the effective performances by its young lead performers, California Scheming mainly comes across as half-baked.

Constant lateral tracks, push-ins, whip-pans, camera moves timed to dialogue, title cards, chapter headings, miniatures, use of stop-action, fetishization of clothing and props, absurdist predicaments — all the techniques Anderson has honed over the years — are used to pinpoint effect here.

Cavemen has absolutely nothing fresh to say about its subject, and its tired genre conventions wouldn’t pass muster on a Fox sitcom.

Although it displays far more imagination than is usual for such teen-oriented fare, After the Dark ultimately sinks under the weight of its pretensions.

The Dance of Reality is a rich pageant of nostalgic narcissism laced with New Age mysticism and fortune-cookie wisdom.

In some ways, the thoughtful, dense script marks an improvement on the original, and the cast is certainly tonier this time around. What’s missing is the original’s evil wit, amoral misanthropy and subversive slipperiness.

A pleasant, polished, but somewhat by-the-numbers effort.

It’s a non-stop blast from beginning to end, jam-packed with a wacky irreverence, dazzling state-of-the-art CGI (courtesy of Animal Logic) and a pitch-perfect voice cast headed by Chris Pratt, Elizabeth Banks and Will Ferrell.

A Field in England is a rich, strange, hauntingly intense work from a highly original writer-director team.

The ritualized presentation of these disasters... adds up to a kind of unsettling spiritual experience, a communion with the dead that demands the quiet participation of a group

An art film whose seductive qualities don't entirely erase the suspicion that its weirder elements might be empty affectation.

This lugubrious drama fails in its essential goal of making us care about its central character’s existential crisis.

Viewers will surely have their curiosity piqued, but may not walk out convinced of Jobriath's place in the pop Pantheon.

None of the other economic gurus of the era is interviewed, so the film comes across as a 90-minute monologue, which is intriguing to a point but also wearying.

Brightest Star is too dim to sustain interest even with its very brief running time.

However off-putting this fragmentary approach might be for those who'd prefer a clean chronology of important works and their assimilation into academic histories of art, it's clear by the end that the aesthetic fits the subject like a glove.

The film, which feels attenuated despite its brief running time, doesn’t dig deep enough to provide more than an impressionistic portrait.

Sparkling dialogue would count for little without two actors to deliver it expertly. Garcia (who is also one of the producers of the film) is generally cast in more serious roles, but he revealed a gift for comedy in "City Island" a few years ago, and he revisits that terrain rewardingly here. Farmiga is marvelous.