Stoller quickly runs out of ideas in this repetitive road movie, and, unfortunately, the movie quickly runs out of laughs because it has no third act, and barely has a second.

A witty, fanciful and touching film, Ondine is part myth, part fairy tale, part wistful romance. It's quietly surprising in its own lovely way.

The battle scenes -- often featuring outnumbered groups getting the best of larger armies -- have a dynamic vivacity, but The Warlords seems more interested in the politics of the Taiping Rebellion.

Splice is flashy and entertaining, but nothing special. It provides the kind of guilty-pleasure thrills that all sci-fi does.

No doubt the critics will hate The Greatest, a moving drama about the nature of grief and what it reveals about the grieving.

Aside from any further output from Lady Gaga, I can't think of much that's more unnecessary than the remake of Clash of the Titans, at least until the next remake of Godzilla comes along.

Thomas Haden Church is one of those under-utilized treasures of cinema who only recently has started to get the kinds of roles he deserves.

Tim Blake Nelson's Leaves of Grass is a textbook example of a promising movie that takes a wrong turn from which it never recovers.

Between the outré fashions and the conspicuous consumption and the just plain dull writing, I find it hard to imagine that anyone will find this funny or entertaining.

There are only two salient facts you need to know about Prince of Persia: this movie is based on a videogame and, more importantly, it was produced by Jerry Bruckheimer.

A documentary that takes you behind the curtain to show the magic being made, Waking Sleeping Beauty still manages to dazzle because of the complex, utterly human story it tells.

Like the least of the Dreamworks films, Dragon suffers from a shortage of jokes. But it has a strong enough story and animation to keep kids fascinated and even adults occupied.

Based on a script by Erin Cressida Wilson, Chloe casts Julianne Moore as Catherine Stewart, a Toronto gynecologist whose practice is thriving but whose life eludes her.

Perrier's Bounty is delicious and propulsive, a film that rarely pauses to let the viewer catch his breath. It's an expert blend of thrills, laughs and jeopardy - like a strong Irish coffee with a jolt of pepper.

John Rabe, a new film by Florian Gallenberger watches the Rape of Nanking from the viewpoint of a German businessman who is about the leave China.

Part Blade Runner, part Brazil, and almost all bad ideas, Repo Men is a mean-spirited sci-fi action-thriller, when it isn't trying to prove how much heart it has.

All the warning signs are there: it's the 4th film, it's in 3D, virtually all of the original creative talent (aside from the actors) have moved on. Has the law of diminishing returns caught up with Shrek Forever After? Yes and no -- but mostly no.

In Solitary Man, written and directed by Brian Koppelman and David Levien, Michael Douglas displays kind of roguish charm that he has perfected over the course of his career.

It's a wonder no one has made a movie about the Runaways before now. Even more surprising: that someone would make a movie about them and make one as mundane and formulaic as The Runaways.

City Island is deceptively funny, a blithe mix of smarts and feeling that never panders to the audience while offering a story about dreams that anyone could identify with.

Prickly, abrasive, fragmented -- that describes both the title character of Noah Baumbach's new film, Greenberg, and the film itself.

It's hard not to respond emotionally to the big moments in Letters to Juliet, in spite of the fact that they've already been given away in the trailer...

Children occupy such a sanctified place in modern society that a film like Daddy Longlegs can't help but shock.

In a new occasionally overblown documentary, director David Bond hires a private security firm to investigate his digital presence, illustrating just how hard it is to keep personal information secret in the information age.

The way Brian Helgeland has written the title character, Robin bears a distinct resemblance to Clint Eastwood in the Sergio Leone films. Except he says a little more and does a little less.