Bearing the clear marks of long post-production delays and a lot of tinkering in the editing room, Repo Men is largely a mess, zipping among flashbacks and action scenes and brutally gory moments with little narrative drive to link it all together.

while he may not have written Roger Greenberg as his most unlikable character yet, as played by Ben Stiller that's exactly what he becomes. Casting a movie star to play an irritating schlub was his first mistake, but as he builds Greenberg around Stiller's performance, Baumbach comes to seem nearly as self-absorbed and naive as the character himself.

Hot Tub Time Machine is exactly what it seems to be. Take Back to the Future, marry it to The Hangover, and you’ll end up with John Cusack, Rob Corddry, Craig Robinson, and Clark Duke traveling through time via Red Bull and bubbles. Maybe time traveling with a Delorean makes more sense, but it’s best not to think about it. Absurdity is what Hot Tub does, and does well.

A wedding between a Hispanic family and a black family in a movie? Hooray! Hollywood has finally managed a project that tackles the somewhat sensitive topic of interracial marriage and multi-ethnic tensions without involving white people! Before you start celebrating, I should point out that this decision probably had nothing to do with the movie industry broadening its mind.

New York City is crawling with self-serious NYU students, styling themselves after James Dean with rumpled clothes and bad attitudes, mooning over a girl they barely know and convinced that their deep feelings are the deepest the world has ever known. As a rule, we hate these kids, and the last thing any of us would want to see is a movie celebrating their youth and idealism

he question of why we went to war is revisited inside a high-energy action film with enough truth thrown in to make it a smart political thriller. Reuniting the director with Matt Damon for the third time, the film is just as smart and kinetic as their pairings in the Bourne franchise, only with a new troupe of characters and a real-world feel.

She’s Out of My League tries to live in the murky, grey realm between the raunchy stratosphere of Judd Apatow’s movies and the cellar dweller, watered down formula romantic comedies usually populated by Grey’s Anatomy leftovers. It succeeds in finding a level between those rom-com extremes, unfortunately that middle ground is as mediocre as you’d expect it to be.

Unfortunately, good intentions don't always make for good screenwriting, and strong work from a cast can't overcome a screenplay hampered by cliches and obvious twists. There's a reason it's taken over a year for Brooklyn's Finest to come to theaters

Burton's movie avoids the impossible task of creating a real story out of Carroll’s book by ditching it entirely. This Alice is not an adaptation of Carroll’s novel, at least not exactly. Instead the classic Alice you have swimming around in your head is used as back story.

"Too much" is what Alice in Wonderland is in nearly every way-- too much color, too much scenery, too much busy plot, too much exposition. The only thing there's not too much of is characters worth caring about-- in fact, there's none of those at all.

There’s talent here, too much for Cop Out to be truly terrible, but it’s talent wasted on a bad idea which probably never should have been made. This script doesn’t deserve these people and even if it did, they’re sitting in the wrong chairs.

While Breck Eisner's take on the original George A. Romero film doesn't do much to reinvent horror or paranoid thrillers, it's surprisingly entertaining and even a little smart. Whether it's because of that politically tinged plot or the sheer fact that it's a horror movie about grown-ups, The Crazies refuses to talk down to its audience

The Yellow Handkerchief. Who came up with that? There is nothing stimulating about that title. Forgiveness could be granted if this so-called yellow handkerchief had a defining moment in the film, but no. In fact, the yellow handkerchief’s 15 seconds of fame could have been easily replaced by something much bolder. Perhaps hoisting a yellow sail on a small boat? Just like the unnecessary inclusion of the yellow hanky, director Udayan Prasad makes the film tiresome by searching for meaning in vague places when the film works best in its simplicity.

Many are well aware of Veit Harlan and the incredible effect films like Jew Süss had on the Third Reich. The infamous German propagandist's films were mandatory viewing for S.S. troops during World War II, and even today much of his work is banned throughout the world. Harlan is long gone but he’s left behind far more than his notorious reputation; a vast bloodline remains. It’s one thing to point a finger at an evil historical figure, but the situation becomes relatable when examined by his relatives in Harlan: In The Shadow of Jew Suss, an interesting but only partially satisfying documentary about the filmmaker’s legacy.

while Roman Polanski's film occasionally plays well with dramatic tension and right well by its skilled lead actors, more often it feels limp and overblown, a take on modern political intrigue from a guy who's been in exile for decades. He clearly knows how it all ought to work, but doesn't quite have the right language any more.