Lou Lumenick

With the abysmal A Little Bit of Heaven, Kate Hudson's possibly unprecedented losing streak remains unbroken: She hasn't made a good movie since Almost Famous, 12 long years ago. Even Nicolas Cage can't say that.

Make no mistake, though: The Perfect Family is Kathleen Turner's show. And when a series of crises forces Eileen to re-examine her values and beliefs, Turner rises magnificently to the occasion.

Even for a surreal black comedy, Jesus Henry Christ requires massive suspension of disbelief.

This remarkable new documentary from Raymond De Felitta ("City Island") fruitfully revisits the aftermath of a TV doc that his father, Frank, produced for NBC in 1965.

Holds your attention for a while, but fails to build much suspense as it races toward a predictable climax. It probably would have worked better as a series of Webisodes, which reportedly was the original plan.

Jack Black gives the performance of his career in the title role of Bernie, under the pitch-perfect direction of his "School of Rock'' director, Richard Linklater, who expertly crafts a black comedy with a deceptively sunny surface. It's the best movie I've seen all spring.

It might not have as many gut-busting laughs as "Bridesmaids,'' but there are still plenty - and for once in Apatow's phallocentric universe, most of them don't come at the expense of female characters.

In the skilled hands of Cusack - who recites quite a bit of Poe's poetry - and director John McTeigue ("V for Vendetta''), it's good pulpy fun.

There was no need to edit it in overly slick ways that often make the story line seem contrived, accompanied by gag-laden narration that frequently made me want to gag.

Yes, there's some spectacular footage. But there's also an awful lot of filler for a 40-minute movie.

While it's not a disaster like Kasdan's last film, "Dreamcatcher'' (2003), Darling Companion doesn't amount to much more than a fairly painless way for the AARP set to spend an hour and a half watching a movie with stars their own age.

There isn't a surprising moment, and it's an affirmation for hard-core fans and pretty much everyone else of William Shatner's immortal exhortation to Trekkies: "Get a life!"

Moves at a poky pace even by American indie standards. But it's worth checking out for the fine cast, which also includes Joanna Lumley as Rossellini's earthy pal, and scene-stealing Doreen Mantle as her tart-tongued but wise mother.

For starters, it wasn't a great idea to basically borrow the premise of "The Blues Brothers'' and turn these quintessential Jewish characters (something that's not even hinted at) into the bumbling would-be saviors of the Catholic orphanage where they were raised.

I have to confess that this surreal departure by the iconoclastic filmmaker tried my patience more than a bit.

Harmless if not exactly inspired, and rarely hilarious.

Juan Carlos Fresnadillo's Intruders looks great and has a promising opening, but this atmospheric Spanish psychological thriller is otherwise pretty underwhelming.

It's powerful stuff, and probably a more effective approach than a series of talking heads decrying bullying, which is estimated to affect 18 million American children.

The image that sticks with you here is a smoky pub where the patrons are singing "You Belong to Me.''

The action is brutal, bloody and virtually nonstop in this adrenaline-packed riff on "Assault on Precinct 13.''

Completed four years ago, Seeking Justice is dutifully directed, with an absolute minimum of thrills, by Roger Donaldson, whose credits include the terrific "No Way Out" (1987)...That film's title is a pretty good description of where Cage's career seems to be headed.

A bit too shaggy to totally live up to the potential of its fine cast. But there are moments of comedy gold - especially as Segel, who went full-frontal for "Forgetting Sarah Marshall" endures endless humiliations as the title character.

These are characters with whom it's a pleasure to spend a couple of hours.

Interminably long, dull and incomprehensible, John Carter evokes pretty much every sci-fi classic from the past 50 years without having any real personality of its own.

Overlong and grim to the point where some scenes are virtually unwatchable.

The real coup de grace for this would-be serious-minded drama is the sledgehammer-subtle direction of Paul Weitz (who is also the screenwriter), who enabled his star's paycheck mugging in the execrable "Little Fockers."

A raunchy, often hilarious satire from the Judd Apatow stable that lacks any real bite.

A feast for the eyes that will engage the entire family.