Lackluster pic fails both as suspense and as character study.

Falls back on the broad characterizations and stereotypical situations that typified the earliest gay-themed movies, while preaching a familiar (though not entirely ingenuous) message of tolerance.

Mildly diverting caper.

More palatable than "Texas," Dawn also seems even less necessary, given how effectively the original was reworked last year in Danny Boyle's "28 Days Later."

It's a rich idea for a comedy, even if the filmmakers seem timid about making the pic the full-on satire it might have been.

While slight comic concoction is so airy it seems in danger of floating right off the screen, the pleasant retro vibe and a handful of effervescent moments carry this film no self-respecting heterosexual male would dare see except on a date.

Rich in its love of surfing but curiously short on such footage, well-meaning directorial debut by producer Robert Mickelson is boosted by winning performances, but ultimately about as memorable as a day of 3-4 foot swells.

Though harmless and amusing, this Quebecois comedy set in an impoverished fishing village is a bit too festooned with provincial humor and a bit too short on memorable perfs or feel-good climaxes to break out commercially beyond French-speaking Canadian territories.

A scabrous, provocative and often funny social satire about the American dream, Spike LeeSpike Lee's flawed but fascinating She Hate Me addresses everything from corporate malfeasance to the African AIDS epidemic, barely catching its breath in-between.

All of this was more enjoyable when Bellucci, Cassel and Bohringer were the stars. Hartnett is overly methodical here as Matthew, and Kruger, as in "Troy," is beautiful but lacking in dramatic intensity.

A deep-fried piece of Southern Gothic that wears its unpleasantness like a merit badge.

Tries to combine the suspense of old Saturday morning serials with the gusto of producer Jerry Bruckheimer's action pics. Falling short on both counts, this long, and long-winded, series of middling cliffhangers won't pump the adrenaline of action aficionados or -- the family crowd.

An unusually bright, inspired look at the perils of breaking into the acting business.

An amiable, but cluttered dramedy.

Begins slavishly faithful to its low-key 1970s predecessor then sledgehammers auds with a numbing succession of shock edits and over-the-top horror effects.

Director Christophe Honore's respectable, tightly coiled, but ultimately unrewarding adaptation of Georges Bataille's posthumous novel.

It's a fantastic-looking picture in search of a decent script.

A handsomely produced, deeply passionate, but seriously flawed historical epic whose reach far exceeds its grasp. Somewhere inside this overlong, sometimes engaging, often tedious affair, there may be a solid, 100-minute movie.

Despite agreeably short running time and committed performances, Edmond is rendered inert by its stagy atmosphere and failure to fully mine the depths of its protagonist's complex psyche.

Spottiswoode's lackluster film fails to offer any fresh perspective on these now well-known events.

A relentlessly formulaic biopic that succeeds at transforming one of the most compelling sports narratives of the 20th century into a home run of hagiography.

Bay can be a master of exuberant chaos, but here the violence mostly lands with a sickening thud, which is fitting, one supposes, but also ultimately numbing.

Iron Man 3 is more perfunctory and workmanlike than its two predecessors, but this solid production still delivers more than enough of what fans expect.

Lipsky is clearly reaching for something grand and cosmic here, but the results are mostly just confounding.

A case of means exceeded by ambition.

Never less than pleasant and genteel, but rarely more.

At its best, in its early, more subdued passages, Poor White Trash provides a couple of pristine comic moments. At its worst, it spirals uncontrollably into an unfunny void.