Amy Biancolli

Many scenes in Outrage are crisply filmed and stylish enough, as serial assassinations go. But the film doesn't add up to much.

None of this bears much or any resemblance to the real world, but the violence crunches, the editing snaps and the humorous one-liners pop at well-timed junctures.

Some movies are in-between and inoffensive and harm absolutely no one. Prom is one of those.

A little movie with a lot of hilarious swearing and an unexpectedly big heart.

Through it all, Tatum tries like crazy to Act. His eyes pinch. His brow scrunches. Most of all, he clenches his jaw, little creases of muscle flexing below his ears as he labors to emote.

The movie as a whole is a mixed bag, offering up stiff shots of skepticism and a few provocative thoughts on correlation and causality.

For all of its dazzlingly rendered cityscapes and nonstop action, this revamped Total Recall is a bland thing - bloodless, airless, humorless, featureless. With or without the triple-bosomed prostitute.

The movie's name is Life as We Know It, but that seems incomplete. The predicate's missing. The full sentence should be "Life as we know it is over," i.e., nuked by the sudden and irreversible arrival of a human infant.

When its biggest trick is finally revealed, it is not entirely satisfying.

In Secretariat, the fictionalized bits are simple exaggerations - broad, Disneyish adjustments in races and other realities.

Best reason to stay home and rent "Disturbia": I Am Number Four is a little better and makes loads more sense than "Eagle Eye." But neither has the sass and pluck of "Disturbia."

May be Disney's most pointedly feminist effort since "Mulan."

With most movies, the question for viewers is: Who should see it? With Project X, the most pressing issue is: Who shouldn't see it?

About as loony and soapy as a movie can get. In other words, it's about as loony and soapy as the novel, and I say this as one who obsessively consumed all four installments in Stephenie Meyer's mega-selling series.

You know what? The whole thing is harmless.

Like its protagonist, Ceremony is as smart as it is exasperating.

Rubber has its share of jollies, at least when it isn't boring us to death with the fourth-wall-busting monkey business. Although I appreciate Dupieux's efforts at satire, the audience-interaction subplot goes nowhere fast.

Uneven, occasionally silly, true, but it's also an improvement over 2006's "X-Men: The Last Stand."

A minor but sometimes touching documentary.

This dark and seedy follow-up to 2009's blockbuster comedy has a quite a retro message - suggesting that civilized men carry inside them a monster, a "demon" within, that requires constant taming.

Flipped succeeds when it backs off the gluey nostalgia and focuses instead on the subtler pitfalls of adolescence - the tough stuff, the moral stuff, the constant tacking between fear and courage.

After sitting through Takers with my stomach rearranged by hyperactive camera spazzing, I hereby formally request all directors and cinematographers to just get a grip already and STOP. WIGGLING. THE CAMERA.

An arty, ruminative and slow-paced film that's being marketed as a big ol' alien-invasion flick. Just don't expect an invasion flick.

This sequel is also goofy, also eye-popping - see it in Imax 3-D if you really want to fry your optic nerve - and also weakly scripted. And yet the sheer size of the thing works against it: The effects are absolutely spectacular, but they blow the goofy-cheesy quotient straight through the roof.

A passable follow-up - more ludicrous, less taut, still creepy - that picks up exactly where the original left off.

It's a celebration of nerd pride in all its many-feathered glory.

For a time, Journey 2 becomes a lost episode of "Lost," then it becomes "King Kong," minus the ape. Then it becomes a ukulele music video featuring the Rock's take on Israel Kamakawiwo'ole's "What a Wonderful World."

The script is as bland as they come.