There are times when watching movies that the casual viewer, and even the cynical critic, must think, “In all seriousness: What am I watching?”

It’s a good thing Chris O’Dowd is on screen a lot during The Sapphires, because he brings some welcome comic relief to a movie that feels steeped in the wrong kind of comic relief.

In movies, as in life, there’s a time and place for artifice over art, style over substance and a good time over a thoughtful time.

I’ve been looking forward to 42 for months.

Something seems amiss in this version of 'On the Road'; surely, the beats could not have been so conventionally dull, their problems so surface-level, their behavior so easy to unravel.

So 'Jurassic Park' gets a big 3-D upgrade. Who cares?

Ginger and Rosa are inseparable. Their mothers give birth in the same London hospital room at the close of World War II, and the girls spend most of their waking hours together from the time they can walk.

“Since I got to know art,” says Cosimo Rega, an inmate at Rebibbia Prison in Italy, “this cell has become a prison.”

Some movies are serious comedies. Others are dramas that happen to be quite funny. Then there’s Admission, which can’t make up its mind on which it is and is subsequently neither.

The title of Stoker is supposed to be some kind of clue as to what’s happening in this movie, but really, nothing can prepare the audience for the sheer silliness of the screenplay.