Some of the action is enjoyable, but 'Bourne' is bogged down by confusing exposition.
'Hope Springs' revives a tired boomer marriage.
'Imposter' has a few too many reenactments but is an unsettling mystery.
Despite an impressive production crew and cast, '360' is disappointing.
'Celeste' is a rarity: a rom-com break-up scenario seen from the female point of view.
With one-dimensional characters, 'Total Recall' is just a big-screen video game.
'Sugar,' the story of the search for a musician whose career is resurrected, is a real-life fairy tale with a happy ending.
'Never Sorry' is a new-style profile in 21st-century courage.
'The Watch' has lots of gross-out CGI monster splatter, but falls short on comedy.
'Patang' skillfully integrates documentary footage with dramatic reenactments.
The film has unhurried storytelling and fairy-tale charm.
With 'Brave,' 'Snow White and The Huntsman,' and 'The Hunger Games' we're seeing the box-office triumph of strong, young female characters. But has Hollywood – or American culture – really changed how it sees women?
The movie's ambitions aren't matched by its material.
The story of a Ukrainian woman who has raised more than 20 foster children is fascinatingly told.
Actress Mira Sorvino is a little too good at playing annoying.
Despite double and triple crosses, director Daniél Espinosa keeps his characters front and center.
Actress Freida Pinto's occasional opacity works in the movie's favor as her character, Trishna, remains mysterious.
Director Sarah Polley has a sometimes graceful understanding of emotional temperate zones, but the set-up of 'Take' is contrived.
Not even Morgan Freeman can rescue this film from soppiness.
The idealism and heartbreak are universal in this new variant of a timeless theme.