Kevin Crust

Andreas is way too low-energy to hold the screen as the film's lead, but he was wise to surround himself with a talented cast. Unfortunately, the wooden dialogue and overall shallowness of the writing keep the film from being even an amiable diversion.

Shot in just 24 days, the film staggers under the weight of stale gags and a meandering plot.

There's precious little that is fresh or new about the movie.

Whereas the original film is gleefully crass and energetically paced, the movie musical, weighing in at a robust two-plus hours, is bloated and self-satisfied. Whatever spectacle the stage musical possessed to make it such a box-office behemoth fails to transfer to the screen.

A comedy so inane and tedious that it buries its premise and its various worthy points under too many arch and improbable shenanigans and endless dialogue, much of it seriously under-inspired.

Though Black Snake Moan is unadulterated deep-fried silliness from "Hustle & Flow" filmmaker Craig Brewer, Jackson makes it indisputably more palatable. It's still not a very good movie, but it's intermittently entertaining (and sometimes unintentionally funny).

Devoid of verbal wit, instead relying on a relentless stream of Looney Tunes-inspired violence.

The film dawdles at times. but for the most part Donaldson keeps just the right amount of tension present in each scene.

Fails to be anything more than a mild summertime diversion. Based on the Marvel comic book, it's a prototypical air conditioner movie.

Smart, compassionate filmmaking that captures both the intricacies and the tragedy of contemporary adolescence.

There is something bizarrely compelling about the movie. It's slower than watching a train wreck but invokes that same level of disbelief.

The filmmaker captures a certain exaggerated verisimilitude, but the comedy is surprisingly flat. The cast sells the occasional one-liner, but a Reynolds smirk can take you only so far.

Maddeningly exploitative, the film takes a provocative subject -- pedophilia -- and wraps it in a sterile, vacuum-sealed package, devoid of meaning.

Though the movie bears some of the Farrellys' trademark outrageous humor, it has a sweet demeanor and makes a noble statement.

My Boss's Daughter is not awful. It is a genial youth comedy that serves Kutcher well as a vehicle. That's it. That's all it tries to be

A smart, well-paced documentary that balances the man's triumphs with his rare failures and discerningly explores the darker side of his power.

Delivers a heckuva story marred by some credibility problems but lands the majority of its punches via subtly powerful performances and a moving undercard of paternal connection.

For what is essentially a screwball comedy, Over Her Dead Body is surprisingly uninspired, a frothy concept that offers little satisfaction in the way of execution.

The movie nicely captures the area around Baldwin Hills, is crisply written by Kriss Turner and portrays the upper-middle class black community seldom seen in mainstream TV and film. However, the characterizations, even the leads, rarely rise above archetypes.

A persuasive if not groundbreaking drama.

As extraordinary as all of this imagery is, it is the film's sound design that takes it to another level. A quirky, electric mix of ambient sound, effects and music by composer Bruno Coulais and sound designer Laurent Quaglio gives the film its heart and its sense of humor.

The disappointingly pedestrian computer-animated Over the Hedge will be more entertaining for little tykes than their older siblings and parents, and would not seem out of place on Saturday morning television.

For fans of Nunez's previous work, it's almost as if he put in all the clichés he would normally avoid and left out the wonderfully textured internal moments that made "Ruby" and "Ulee's Gold" unique.

Jumper is all high concept with little invested in characters or story.

Fans of the band will likely be disappointed (its music is represented by a handful of covers), and younger audiences will wonder what the fuss is about.

The film does a fairly remarkable job of capturing the attitude of the festival, covering its evolution from quaint little Woodstock knockoff into something much larger that is both hallucinatory and hypnotic. It's Mardi Gras meets Burning Man with an excellent, revolving house band.

Strictly for the very young who will find giggles in the anthropomorphic mash-ups and won't be too distracted by the predictably mawkish sitcom plot.

Director Kevin Rodney Sullivan milks the film's one joke for all it's worth - which isn't much - before settling into the rote rhythms of a buddy picture.