Another predictable romantic comedy, one that insists that spending time locked into an unhappy marriage doesn't breed contempt, but sows love. 

Another predictable romantic comedy, one that insists that spending time locked into an unhappy marriage doesn't breed contempt, but sows love. 

Almost worth seeing just for Faris' spot-on work...Shelley becomes an endearing character in Faris' nonjudgmental hands. 

It's Coogan's show, in a grotesquely overstated performance that makes sense for the character but isn't always easy to watch. 

A clear-headed and comprehensible picture of American fiscal policy, but one that's not in the least boring. 

Utterly predictable, formulaic, but not entirely unamusing. 

The confluence of events allows the film to arrive somewhere that may not be original, but feels honest...at other times, the film seems to be chasing the same old indie dragon of quirky escapades that can be shot on the cheap. 

One of those hidden treasures of the art house that it's your duty to seek out. 

Perhaps the greatest compliment to be paid to Vicky Cristina Barcelona is that it serves as a spot-on emblem of Allen's own life philosophy: cling to the transient pleasures, as you're bound to be let down in the end. 

Only the 3D process helps to dispel the impression that what you’re seeing lacks wit and is completely generic in terms of characters and 'humor.' 

Redundant, boring, and not terribly attractive in telling a story more suited for the Junior Fiction shelves of your local library than the screens of your local multiplex. 

The energetic action isn't quite enough to overcome an undernourished story. 

Lazarus' cliched idea of a black man is funny in itself...but Downey's immersive take on the immersive actor is pure genius. 

Engrossing...the great irony of the story is its triumph of the visionary individual over authoritarian bureaucracy. 

As for the inevitable fudging of fact, it doesn’t bend the true story to its breaking point—on balance, Bottle Shock is an entertaining tour of wine country. 

Provides a strong showcase for four deserving actresses and healthy lessons for an underserved audience of girls and young women. 

Despite its rusty mechanics and hodgepodge of tones, Pineapple Express convincingly imitates the mode of Midnight Run: on-the-run odd-couple comedy with gunplay and car chases. 

Would be innocuous if it weren't so utterly, utterly misguided. 

Joyless spectacle: it has a certain epic sweep...but it also has tacky CGI Yeti. 

It’s hard not to think of the film as a timely reflection of today’s deep economic recession...writer-director Courtney Hunt has something of the eye for detail expected from a good short story writer. 

No classic, but it does hold interest, in part by dealing honestly with the intriguing religious themes and in part for its fine cast. 

Despite the film's incredible specificity as one man's take on one city, the wistful My Winnipeg achieves a powerful universality. 

Interesting enough as a symbolic drama of conflicting and conflicted beliefs. But this is also supposed to be a spooky movie, right? 

The film's funniest moments come early...But the more outlandish the joke (a.k.a. little kids pick fights with the men), the less purchase McKay finds, as our investment in the film's reality checks out. 

More of a marketing sensation than a cinematic one...a documentary shouldn't feel this packaged. 

Ledger slips into the purple suit as if it were an animal skin for a primal, archetypal dance...Nolan's richly realized adaptation of a modern American mythology fulfills our faith in the material and its interpreters. 

Complete fluff, and proud of it...Once you adjust your senses, however, you're bound to submit to this vacation of a movie. 

Eddie, it's time to start thinking big again. 

The young lads in your family will thank you for taking them, but I'm not sure about anyone else. 

The line from special effects whiz Ray Harryhausen to director Guillermo del Toro has never been so clearly visible... 

May not be the definitive doc for which Thompson's fans may be hoping, but it is a worthy contribution to the ongoing popular legend of a distinctive American personality. 

The second half gets so worked up over itself that Hancock becomes nearly unrecognizable as the movie we were all enjoying twenty minutes earlier. 

Doesn't have a nuance in it, but it's pretty consistently amusing in its latter-day Woody Allen way. For most of the way, its morals are happily, believably wrong, but all bad things must come to an end. 

A Discovery Channel production about Antarctica that breaks the mold with Herzog's eccentric musings and auteur's eye. 

Disturbing in the extreme, Savage Grace gives a guided history tour of a family as dysfunctional as they come. 

It's best not to ask too many questions...Take the film's outstretched hand and go with it. That's the best way to enjoy a film that's as charming as a tale of two robots falling in love can be. 

Delivers slam-bang action entertainment, and does it while putting a surprising twist on the archetypal heroic journey. 

As for Squires' outlandish behavior and Kingsley's theatrical performance, they're entertaining, but very hard to believe. The film lives more comfortably in the milieu of '90s youth culture... 

Thomas Wolfe wrote, "You can't go home again," but the new film from Fatih Akin explores a number of ways one can. 

For the summer months, it'll do nicely, and we can all thank our lucky stars that we get Steve Carell as Maxwell Smart. 

Hello, police? I'd like to report a mugging. Oh, it was horrible, horrible! Yes, I'm safe now. The mugging took place in a movie theatre, but I fear the mugger will strike again! 