Even the most desperately deprived secret-agent devotee will find little to cheer in this yawn-tastic 007 send-up.

Heijningen doesn't display the instinct of the best Hollywood action directors to give the audience what it craves at the big moments, except for a few gory in-your-face shots.

The uniformly winning cast, led by Steve Martin, Jack Black and Owen Wilson, and the ultra-accessible touch provided by director David Frankel provide for a constant steam of gentle mirth, if not huge laughs.

Comedies don't get much more unfunny than Father of Invention, a lame and somewhat preachy comic take on a father trying to get back into his daughter's good graces.

The new film may also serve a purpose by showcasing a dynamic and attractive new actor, Kenny Wormald but, otherwise, this is a by-the-numbers affair.

Williams gets us on intimate terms with one of Hollywood's most enduring and tragic icons. If much of what surrounds her in Simon Curtis' biographical drama is less nuanced, her work alone keeps the movie entertaining.

Like many lab experiments, this melodramatic hybrid makes for an unstable fusion. Only someone as talented as Almodóvar could have mixed such elements without blowing up an entire movie.

Fast and dangerous, Miss Bala is a hair-raising actioner.

Dennis Lee comes up empty. Kids, parents, siblings, an aunt and an estranged wife all bicker and yell, but the noise cancels itself out. The movie is one long argument, tiresome and repetitive, that produces more heat than light.

While this psychosexual twaddle will no doubt have its admirers, it seems a long shot to attract a significant following or herald the arrival of a director to watch.

Genial documentary combines extravagance of Mardi Gras drag with an underexposed story of early gay-rights achievements.

Captures a reunion between them that speaks volumes about the intense connections, complicated and big-hearted, that have fueled an extraordinary musical collaboration.

The film grabs at historical facts, mangles them into a plot worthy of a John le Carré spy novel and takes the viewer on a breathtaking ride through ye olde London.

Nine Muses is clearly the work of a talented filmmaker, and there are many moments to beguile the ears as well as the eyes. Yet it's a long slog through a few thousand years of myth and history, and most viewers are likely to grow impatient during the journey.

Chan has not injected any of his playful charm or physical virtuosity into Wang Xingdong's and Chen Baoguang's insipid, poorly structured screenplay.

The film built around Norman's brazen bit of acting out is uneven -- a strong, fresh first half is followed by a dismayingly earnest second. But there's enough that is winning and sharp to hold you until the end, even as you're disappointed by the direction the film takes.

The actor (Shepard) delivers a beautifully understated, world-weary turn that largely makes up for the slow-paced film's longueurs, and which in a better film could be described as iconic.

Whatever gothic originality the first Human Centipede possessed is altogether lacking in this sorry follow-up.

A sweet 'n' sassy period comedy with a "Juno" sensibility and the soul of a "Little Miss Sunshine," the hard-to-resist Dirty Girl announces the official arrival of Juno Temple.

A just-OK second feature from Ami Canaan Mann – daughter of Michael Mann, one of two credited producers here – and the latest outing for "Avatar" and "Clash of the Titans'" Sam Worthington.

This punishingly predictable tale will test whether sci-fi action fanboys can stomach having their cherished genre infiltrated by sentimental hokum about a down-on-his-luck dad and his spunky long-lost son.

Courageous reveals the duo's growing expertise as filmmakers with its skillful blending of moving drama, subtle comedy and several impressive action sequences, including a well-staged foot chase and a harrowing shootout between the cops and bad guys.

Despite the A-list talent involved, this haunted house tale is a thrill-deprived, inert misfire.

Snappy, nasty, deftly acted and perhaps the fastest paced film ever directed by a 78-year-old, this adaptation of Yasmina Reza's award-winning play God of Carnage fully delivers the laughs and savagery of the stage piece.

A very important subject gets too dry a treatment to keep one's attention focused.

Mild vulgarity and discreet nudity garner the sought-after R rating, but this effort feels forced. The real "bad" here is the sheer formulaic nature of everything. There are no surprises but for once you don't much mind.

Fine performances and bristling language compel in this overlong, often off-putting but well-observed New York story.

Everyone's comments are thoughtful and articulate but everyone stays "on message" so steadfastly that no dialogue ever ensues. It's 20 people giving the same lecture.