A beautifully atmospheric vessel that will seem infinitely deep to some and chafingly dry to others.

Though the issue of illegal immigration is nothing new in French cinema, Welcome makes auds care deeply for its absorbing characters.

This directing debut by helmer-scribe Shim Sung-bo echoes Bong’s trademark cynical vision of human nature, but the characters lack dimensionality and psychological depth.

Mighty Joe Young is fun to laugh at and with, loaded with incredible corn, plenty of humor, and a robot gorilla who becomes a genuine hero.

When its many secrets spill out in the finale, “The Housemaid” has to cheat a little to pull off a humdinger of a twist, but it’s enormously satisfying anyway, if only for bringing the core historical conflict back to the fore.

M-G-M's reproduction of Goodbye, Mr. Chips as a big-budget musical [music and lyrics by Leslie Bricusse] with Peter O'Toole and Petula Clark is a sumptuous near-miss that trips on its own overproduction.

The film, a debut feature from director Matt Vesely and screenwriter Lucy Campbell, falls sway to the clickbait tropes it intends to send up: red herrings, a tone of suffocating gloom and a desperation to keep the audience on the hook.

For all the utter phoniness of Fighting -- the cockeyed, faux-verite shooting, the lurches in storytelling, the lack of character development, a contrived crisis between Shawn and his would-be girlfriend Zulay and Tatum's dopey-charming thing--Fighting's not so bad.

The improvisational zeal with which Cusack approaches his role (absent from his miscast villainous turn in “The Paperboy”) is particularly fun to watch.

While it suffers from a rocky beginning with burdensome amounts of kook and quirk, the unfolding spell it subtly casts holds profundity and wisdom.

3 Men and a Baby is about as slight a feature comedy as is made - while at the same time it's hard to resist Tom Selleck, Ted Danson and Steve Guttenberg shamelessly going goo-goo over caring for an infant baby girl all swaddled in pink.

Maridueña, playing Hollywood’s first Latino superhero, proves an appealing star. And the novelty of casting a comic-book blockbuster with a mostly unknown crew of vibrant Latino actors finds its emotional grounding in Jaime’s family.

There’s bravery in Bateman’s willingness to explore this state of mind, to put so much of herself on the table, but she rolls credits just as things were getting interesting: when Violet blocks out the voices and finally starts listening to herself.

Although it exists primarily to send an audience into a bloodthirsty frenzy and has major credibility problems in the bargain, "Unlawful Entry" is still a very effective victimization thriller. Strongly following the "Fatal Attraction" pattern--to the point of having a very similar climax--well-crafted concoction trades in the sorts of elemental concerns and fears that get people mightily worked up. This, combined with controversy pic may engender based on its prominent plot element of excessive police violence, gives it the potential to become a summer sleeper hit.

Gorgeously shot for the big screen by multihyphenate Gilles de Maistre, it thoughtfully explores what makes the globe-trotting chef-businessman tick.

Better Broadway musicals than Bells Are Ringing have come to Hollywood, but few have been translated to the screen so effectively.

The Persian Version is a bit madcap and self-indulgent, not unlike its protagonist, before it settles into a groove that foregrounds Shirin.

A definitive document for anyone who’s ever hoisted the devil-horn fingers in metalhead solidarity.

Offers a fast, efficient and richly satisfying look at an iconoclastic artist and his groundbreaking work.

Too often caught between trying to be a sweeping period drama and intimate love story at the same time, with a script that's never fully satisfying on either count.

Superior family entertainment.

Adaptation of Ian McEwan's 1997 novel takes a surprising number of liberties with the text, given the author's stature, but his name on the credits as associate producer would suggest his stamp of approval.

Israeli filmmaker Loevy questions in voiceover whether one can ever really see the other's side, and the strain of this divide is felt in over-dramatic attempts to highlight individual victims.

Faithful in substantial degree not only to the letter but also the spirit of the 1933 classic for RKO, this $22 million-plus version neatly balances superb special effects with solid dramatic credibility.

The real battle in Roman Polanski's brisk, fitfully amusing adaptation of Yasmina Reza's popular play is a more formal clash between stage minimalism and screen naturalism, as this acid-drenched four-hander never shakes off a mannered, hermetic feel that consistently betrays its theatrical origins.

At one point in The New Age, the terminally stylish post-yuppie couple played by Peter Weller and Judy Davis put on their fanciest threads in order to commit double suicide, but can't go through with it. Like them, Michael Tolkin's film gets all dressed up but doesn't quite know where to go.

A trippy variation on the dream-within-a-dream movie, Boyle’s return-to-form crimer constantly challenges what audiences think they know, but neglects to establish why they should care.

Too much caution and too little lust squeeze much of the dramatic juice out of Ang Lee's Lust, Caution, a 2½--hour period drama that's a long haul for relatively few returns.