Beautifully shot and reeking with style, Last Night is as slow as sorghum; nothing ever really happens.

Certainly not a bad movie, but a disappointing one. It knocks itself out trying to break your heart, but it's too starched and blow-dried for its own good. Maybe if it had manipulated me less, it would have moved me more.

Not a great movie, but satisfying enough to hold attention and win your affection - a rare blue-plate combo on today's overcrowded menu of movie chaos that sticks to your ribs and stays there.

The film works because of Mr. Harrelson's magnetism.

Although they are no longer together and are living their own separate personal lives, their story, fictionalized but still autobiographical, bonded them for life. Apparently, they are best friends whose dedicated collaboration was the only way they could tell this harrowing story. It's a brave effort any way you slice it.

It's a slow, repetitive, meandering, mostly overacted little picture - perfectly agreeable but nothing special, and directed with a steamroller by David O. Russell. Go figure.

It all sounds dreadful, like the pilot for another brainless comedy series on network TV, but it grows on you.

A structurally messy but emotionally effective coming of age movie that gets a lot of it right. High school is an ordeal only the fittest can survive.

It does have a dark, satisfyingly sinister feeling of gothic creepiness that I somewhat reluctantly admit appealed to my enjoyment of perversity as entertainment.

Proving again that her Best Actress Academy Award for playing Edith Piaf in "La Vie en Rose" was no fluke, the marvellously sensual Marion Cotillard, with her wounded doe eyes and look of permanent unfulfilled longing, delivers another kidney punch as a double amputee in love with an illegal bare-knuckle fighter in the French shocker Rust and Bone.

Playing the cello is such a pleasant change of pace that he (Walken) eventually grows on you, scene by scene, proving for the first time since his role as Leonardo DiCaprio's troubled father 10 years ago in "Catch Me If You Can," that he really can act. He - along with the rest of the elegant cast - keeps A Late Quartet in tune when it threatens to go flat.

The Girl sounds like a real mess. It isn’t. It’s just a slow, well-made human interest story on a very small scale, ultimately touching but as inconsequential as a slice of pineapple at a Hawaiian luau.

The trajectory consists of one damn thing after another, with the able Mr. Walker giving it all he’s got without getting out of the vehicle to catch his breath.

Shot by Barry Ackroyd, the same cinematographer who filmed "The Hurt Locker," and using the same camera techniques, this movie looks like outtakes from a much better film.

This is an oddball tale that is well worth telling, but Mr. Carrey simply cannot resist turning it into a Three Stooges routine in drag.

Don’t be misled by the title Leaves of Grass. Do not expect literacy, either. This stoner comedy has nothing whatsoever to do with Walt Whitman or poetry of any kind.

For the Edgerton brothers and for their protagonists, The Square works on several levels, as it shows how far two people will go for love and profit--in more ways than one.

One of the least likable characters (Cox) in recent memory--irascible, but with moments of real tenderness--he’s the reason this strange movie takes on a perverse charm that is uniquely its own.

Michael Caine is such a consummate actor that it's a major cause of concern to see him in Harry Brown, another hateful vigilante flick the wags in England have already labeled Dirty Harry Brown for reasons that are immediately obvious.

Letters to Juliet comes off as just another movie that makes you long for a trip to Northern Italy-but not with any of these people.

Young Mr. Eisenberg and a fine cast give Holy Rollers the ballast it otherwise lacks, but we've been down this road so often that there are times when I could only wonder why I was watching it at all.

A stupid waste of time and talent, but it might be just what his (Damon) fans are waiting for.

A movie only a hedge fund manager could love.

Not a masterpiece, perhaps, but technically polished, with inspired performances and enough suspense that by the time Mr. Hamm found the redemption that freed him from his own demons, I was so wired I needed a Valium.

One thing that defies debate: Zac Efron is going places as an actor of value. But he deserves better movies than Charlie St. Cloud.

Legendary is a soap opera with steroids.

Despite its good intentions, this earnest little film seems embalmed.

You can't fault the theme that life's darkest moments brighten when two people need each other, but there's no drug strong enough to get me through another movie like Love and Other Drugs.