Christian Hamaker

Not everything works, but the film's oddness makes for a unique viewing experience. It's a major comeback for director Green.

Young romantic leads Teller and Woodley are launching careers with this story about recognizing our failures and need for love.

Flawed, but it only takes one special element to set a film apart. Here, it's a loony performance from the great Jeff Bridges.

More than a timely drama about racial tension, but a spiritually potent story that portrays people looking toward a better life.

Not even close to being on par with Pixar's Toy Story sequels, but a genial nature and thoroughgoing inoffensiveness make it palatable.

Tries to make us ask deep questions, but really, a "kill or be killed" scenario does not raise the moral dilemma the filmmakers think.

At heart, a father-son story in which a young man is called upon to put dad's lessons into action. Not complex, but largely satisfying.

Less a disaster than a standard disappointment, the biggest of which is Bradley Cooper, who phones it in post-Silver Linings Playbook.

There's enough action to enjoy it, but this new Star Trek installment continues to show unfulfilled promise and a lack of strong themes.

Baz Luhrmann captures the opulent decor and backs it with a hip-hop soundtrack that should feel out of place but works surprisingly well.

For all its star power, futuristic talk and sci-fi imagery, the film is ponderous, mundane and ultimately forgettable.

Like The Blind Side, faith is integral and is presented unapologetically. And like The Blind Side, 42 isn't appropriate for all ages.

This animated coming-of-age story is aimed more at adolescents than young children, and packs a surprising, emotional wallop.

If this sci-fi/romance mash-up is representative of the current state of either genre, those genres are in big trouble.

A colorful, visually arresting prequel that could have used a bit more story development to justify its 2:10 running time.

Somehow, Hollywood has made a submarine thriller that tests our patience and fails to engage the imagination, not an easy thing to do.

This Nicholas Sparks adaptation opened on Valentine’s Day but was forgotten by Presidents' Day.

Completely runs out of laughing gas before turning into a dreadfully misguided attempt at personal reformation and redemption.