This love letter to gay-marriage supporters is respectably entertaining filmmaking, it's just not exceptional.

Very much bearing the creative imprint of Robert Rodriguez, but directed by Nimrod Antal, the new edition, in its best moments, is an unabashed B-movie that plays like a jacked-up "Twilight Zone" with award-winning actors delivering the pulp-infused dialogue.

Despicable doesn't measure up to Pixar at its best. Nonetheless, it's funny, clever and warmly animated with memorable characters.

Noir never has been this dark.

A film that starts out as a gimmick but winds up as a genuinely touching character study, though one does wonder whether that is what the filmmaker initially intended.

Doesn't exactly bring anything new to the genre, it's no less effective than its predecessor in expertly conjuring an air of low-tech-style dread.

What is most interesting is hearing the directors speak of their work in general, rather than any film in particular.

Even during the climax, the film still is struggling to introduce the world of the film and its strange rules.

It took three films, but The Twilight Saga finally nails just the right tone in Eclipse, a film that neatly balances the teenage operatic passions from Stephenie Meyer's novels with the movies' supernatural trappings.

What makes "Ecstasy" essential viewing for any pop-music fan and any student of celebrity pathology is the interview itself. Spector, despite his immodest comparisons of himself to Bach, da Vinci and Galileo, is surprisingly entertaining company, not simply the mad recluse with crazy hair that was his shocking image during the trials.

Thanks to the great Helen Mirren as the wife and Spanish actor Sergio Peris-Mencheta as the boxer, the film does create a convincing portrait of a late-flourishing love that takes everyone by surprise.

Despite the lazily self-satisfied results, his (Sandler) aging fan base likely will come along for the lackadaisical ride.

Horror and cold humor commingle in Dogtooth, a Greek import whose screenwriters approach scenario construction like misanthropic social scientists planning an experiment -- one whose result suggests that governments might want to rethink policies allowing parents to home-school their children.

In-depth account of Army deployment in an Afghanistan hotspot shows soldiering at its most rugged.

Narratively, Wild Grass is a fractured romance, that never jells on any level, except for the backdrop visuals. Visually scrumptious, as if culled from the pages of good-taste magazines, it has the appeal of a designer catalog, and also the depth.

Good-humored, illuminating and without cant, Oscar-winning director Oliver Stone's documentary South of the Border is a rebuttal of what he views as the fulminations and lies of right-wing media at home and abroad regarding the socialist democracies of South America.

Laziness permeates the film from the inexplicable escapes to the neglected romance.

It admittedly starts off great guns, but all too quickly it becomes apparent that the big-screen arrival of the supernatural Western DC Comics series Jonah Hex"is firing loud, empty blanks.

Insightful but ultimately ponderous entertainment.

If the impact of co-director/writer Reed Cowan's film is undercut by its sometimes sloppy execution, it nonetheless provides a disturbing portrait of the increasing overlap between church and state.

An ambitious film, and Guadagnino deserves praise for the risks he takes here.

This is very much an actors’ film, not least because director-scripter Agnes Jaoui also appears in front of the camera in the well-seasoned role of Agathe Villanova.

Woody, Buzz and playmates make a thoroughly engaging, emotionally satisfying return.

As a depiction of youthful resilience, the film works, but Max's trials and tribulations might have had more dramatic impact with a trained actor in the role.

For an event of such seismic social importance in the modern era, the 1969 Stonewall riots went shockingly undocumented. Almost no archival footage exists, which gives Kate Davis and David Heilbroner's documentary feature Stonewall Uprising the frustrating air of an oral history lesson. But it's a vitally important one nonetheless.

If its summary approach is less than penetrating, its underlying message of tolerance and open-mindedness is commendable.

It's a measure of the times that the new version of The Karate Kid manages to be longer and bigger-budgeted than the original while having lesser impact.

The film seems nearly writer-free. Absolutely no time gets wasted on story, character development or logic.