It’s too cheesy and predictable to be a real miracle, but by Vegas standards, it’s a winner.

Despite some gruesome images and the psychotic fervor of Rakes, it's a frustratingly slow boil.

If the world were really coming to an end, we'd spend it with Knightley and tell her tag-along friend that there's not enough food for a 50-year-old virgin.

There's an alliance of interesting stories fighting for dominance here, but instead of a clear victory, Hyde Park on Hudson is the site of a muddled truce.

Like the politicians it tries to pull into the big picture, Killing Them Softly promises more than it delivers.

Although this Swedish vehicle is thoughtfully engineered and has some vivid streaks of color, it could use a jump start to escape the vanilla ice.

Eccentric enough to get mistaken for an uplifting fantasy, but it's Plaza who belongs in the penthouse.

Compared to most teen comedies these days, Fun Size is almost touchingly tame.

Surviving Progress reiterates arguments made in movies such as "An Inconvenient Truth" and "Inside Job," it marshals minds such as Jane Goodall and Stephen Hawking, and it utilizes artful imagery reminiscent of films such as "Koyaanisqatsi" and "Up the Yangtze."

Elles is provocative company, but it leaves us feeling hustled.

By the time the meta-movie and cute-dog subplots collide in the desert, this high-concept vehicle has run out of gas. Movies about the filmmaking process may never get old, but self-referential hit men smell like yesterday's fish story.

Ultimately a movie that could have been a little jewel is unpolished.

Hit and Run isn't a catastrophe, but it leaves loose ends and a more adventurous map by the side of the winding road.

Too modest to become a worldwide phenomenon, but sensitive teens and their older kin who pine for the '90s may want to take it for a spin on the dance floor.

A colorful indictment of corporate infestation, but it's missing a prescription.

As the blindered Abe, relative-unknown Gelber earns a sympathetic pat on the head. But as the character is braying for attention, he's stuck in his stall, while genuine dark horse Donna Murphy carries the narrative load as the middle-aged co-worker who prances into Abe's daydreams.

The rapid dialogue is dry and mannered, like a David Mamet play, there's virtually no story and Cronenberg's visual scheme is cold and claustrophobic.

A high-concept comedy that peddles some slapstick laughs and life lessons but little insight.

Like a taxidermied owl, Stoker is lovely to look at, but in the end it’s hard to give a hoot.

Killer Joe is one of the most repugnant parodies of small-town stupidity that you will ever see, and Friedkin amplifies the shrill obscenities with blaring cartoon and kung-fu footage from his art director's fever dreams.

Penn has created a colorful tour guide, but in This Must Be the Place, there's no there there.

Because he's the protagonist of the movie and played by the likable Matt Damon, we keep an open mind, but Promised Land is morally ambiguous to a fault.

Hitchcock is an amusing lark, but the clumsy way it dissects the director is for the birds.

The Holocaust must never be forgotten, but like many well-intentioned documentaries, The Flat derives more power from the implicit strength of the subject than from the explicit choices of the director.

The Bay is better than a shallow exercise, but crabby horror fans may have preferred that Levinson took a real plunge.

This true-ish story adds a romantic subplot to the prosecution of Japanese war criminals by American general Douglas MacArthur, but neither the love nor the war are completely baked.

Obviously a labor love, and its very existence in a godforsaken marketplace is a minor miracle.

Redford is an adequate director, and he keeps things moving at a moderate pace, passing up exits to more spectacular vistas or hotter issues.