This often haunting stop-motion Claymation movie ultimately suffers from what bedevils many live-action movies culled from short stories: a herky-jerky plot.

This two-bit echo of "The Accidental Tourist" is a preachy pill that wastes the genial, funny Jeff Daniels and the criminally underused Lauren Graham.

The oh-so-out-there mentality earns some chuckles, but that, along with Piven's preening, gets very trying. A hard sell is still a hard sell.

Faour and Muallen give solid performances, but there are a few too many by-the-numbers moments.

The central metaphor of dance, though, is forced, a standard-issue cliché about dancing away problems.

All the actresses, especially Theron, are appropriately haunted, but let's hope Arriaga's love of echoes, fate and coincidence has run its mopey course.

The film, unfortunately, hasn't the depth Malkovich brings to his performance.

A movie needs to announce if it's playing games. Pulling the rug out from under a viewer is fine for whodunnits and psychological thrillers and the usual suspects. But a supposedly grown-up drama like The Other Man ought to have scruples about where it plans to take you.

This doc, made by Kunstler's daughters Emily and Sarah, doesn't pretend to be unbiased, but it nonetheless has an unblinking view of its subject. They must have learned a thing or two from dad.

Though it takes time to find its courage and heart, Gigante, like its oversized hero, merely has a slow, shy way of doing things.

Though diligently paced and sharp to look at, the mysteries inside Mother are, finally, bloodless.

The big problem here is that dark sci-fi satire works best when it aims for several targets. Repo Men aims at corporate greed, which is good, but doesn’t fill in the details.

There's less to Beastly than meets the eye - and what meets the eye is no great shakes, either.

In what world does Smart People exist? Clearly not the real one, though this dramedy wants to think it's filled with ironic insights about love and family.

The long shadow of David Fincher's "Seven" falls on Anamorph, a moody, ultimately unexciting thriller.

The movie shows the city as both an intimidating and enticing place for new arrivals, but ultimately gets bogged down in the cliched split destinies and intentions of its main characters.

Solid performances and a literary feel help turn a standard family-rift drama into a dry but saucy narrative.

Velvety storytelling still feels more thawed-out than heated.

Smith ("American Movie") sees the poetry in everyday people, and lets his rambling story find its own rhythm.

About the kinds of showbiz hangers-on seen in the background of a Scorsese movie, and it feels like those guys decided they were the real stars.

While Montias' actors do their best, even good intentions have limits. Still, it never feels false. And remember, even Martin Scorsese (born in Queens) had to start somewhere.

The movie gets repetitive, and when it calls an audible and goes somewhere unexpected, it pulls back quickly. Too bad.

The movie's lack of Michael Moore-style dynamism has a dulling effect. What saves it is the human face it puts on the crisis, and its indictment of corporate greed.

Ferrera's shaggy tone, which fits the iconic building, gets irritating. Still, if you come for the stories, you'll stay for the company.

Heartening, and yet, a year after being filmed, unintentionally aggravating.

Director Scott Teems' film is as quiet as untilled soil -- not always a good thing -- but Holbrook has a handle on where to dig.

Imagine a quietly creepy "X-Men" prequel -- in French -- and you have this odd little parable.

Engrossing, sad and heartbreaking.