Our Family Wedding is a broad multi-ethnic comedy that telegraphs every joke and is too punchless to actually have punchlines.

Remember Me is limp and witless, a romantic drama with occasional attempts at humor that has all the body of chicken noodle soup.

When it comes to this kind of romantic comedy, Queen Latifah seems like a natural as the woman who men love to hang with - when they're not in pursuit of a woman they want to have sex with.

Green Zone is a movie which, given a stronger sense of purpose, might have recounted exactly those failings and shown in stark relief how we were hoodwinked into war.

Everybody has a mother. One can only hope to have one as fierce and protective as the one in Bong Joon-ho's Mother. A surprising story from South Kor...

Launching on video-on-demand today before hitting theaters in limited release on March 12, Stolen feels like a movie whose ambitions outstrip its talents.

Tim Burton and screenwriter Linda Woolverton have taken the classic story and turned it into a modern action-fantasy film -- minus the humor of Carroll, or the absurdity or the heart.

Once upon a time, movies like Brooklyn's Finest were part of the mainstream. Tough and sorrowful, they offered flawed heroes, usually cops with tarnished ideals.

Some movies provide a light snack - and some provide a banquet, a feast of ideas, sensations and images that pull you into a world you never could (an...

This film by Breck Eisner is taut, tense and veined with just the right amount of humor. It knows what it's about and gets to it, without a lot of fuss or frills.

At once a tale of teen girls jockeying over friendship, prestige, boys and their own identities, Toe to Toe features two exceptionally layered performances at its center.

Cop Out affects such a generic, mid-80s feel that you keep waiting for the wink. You keep watching, expecting that, at any moment, director Kevin Smith is going to tip his hand.

Legacy -- it hovers over everyone's head in this film. And it's all about daddy issues.

DiPietro creates a convincing atmosphere on the trading floor in The Good Guy, in which colleagues act alternately as allies and competitors, chasing the big bucks, with ethics as an afterthought (if that).

It's always feast or famine: months of movies like Dear John, Valentine's Day, Leap Year -- and then, in one week, new films by both Martin Scorsese and Roman Polanski.

DiCaprio isn't just a star -- he's a smart, resourceful actor intimately in tune with his emotions and capable of nearly anything on screen.

The plot concerns an impending war between Zeus and his brother, Poseidon. Zeus' lightning bolt has been stolen and he blames Poseidon's human offspring. If it isn't returned, by thunder ...

Joe Johnston's remake isn't dreadful -- certainly not as awful as the commercials make it look. It's not a good movie, by any stretch -- but it could have been a lot worse.

Valentine's Day wants to do for that Hallmark holiday what Love Actually did for Christmas: exploit it to make a romantic comedy. Just one problem: it's not funny.

An Oscar nominee as best foreign-language film, Israel's Ajami is a reminder that things can always -- always -- be worse. Yet Ajami isn't a downbeat film -- though it is a relentless one.

These are high-quality mystery-thrillers, made for British television but better than most American cop films, with more going on than the case that seems to be at the center of each film. But there are three of them.

One of the films that played at the 2010 Sundance Film Festival's Midnight series, Adam Green's Frozen is the horror equivalent of a one-joke movie - ...

I don't think I'm giving much away to say that Dear John is the first of the cinematic adaptations of his books I've encountered in which one of the two lovers at the center of the story doesn't die.

Luc Besson is a movie-making maniac, an action auteur whose signature is all over the films he produces and writes.

I suppose that, if you haven't seen District B13, this sequel will amuse and excite. But your time is better spent tracking down a DVD of the original, which was a highlight of a rapidly deteriorating genre.