Nathan Rabin

As usual, Corben's style is caffeinated and a little rough around the edges, but he's a tenacious journalist, and his yen for sensationalism gives Limelight an irresistible tabloid pop.

Dolphin Tale is as casual as a pleasant afternoon nap and about as substantive.

Red State is gloriously unencumbered by fidelity to genre conventions, which lends it a thrilling element of unpredictability even when the action frequently grows shrill and heavy-handed.

This clumsy action movie feels too generic to be real. The film attempts to add an element of sophisticated sociopolitical commentary to the typical Jason Statham head-busting shoot-'em-up, but only ends up draining it of visceral thrills.

The Weird World Of Blowfly at times recalls "The Wrestler," only instead of schlepping his aging body from city to city to don outrageous costumes and wrestle, 69-year-old soul-music legend Clarence Reid schleps his hunched-over frame to gigs where he performs X-rated parodies and scatological ditties as incorrigible proto-hip-hopper Blowfly.

Apparently no one told Ricci she was acting in a comedy, not a touching drama about a young woman overcoming a formative trauma to achieve her dreams.

The new Burke & Hare offers many pleasures, chief among them the return of the Landis of old.

A Good Old Fashioned Orgy takes its cues from Sudeikis' character and performance: It's randy, good-natured, moderately amusing, and charming in a glib, facile way.

Madden's dark, moody, complex exploration of guilt and identity taps into a rich vein of moral ambiguity, but the filmmakers should know that in the face of unspeakable Nazi evil, the romantic problems of three little people don't amount to a hill of beans.

Rudd ably carries the film while retaining a light touch, though even with Rudd in the lead, it's still a featherweight trifle, an afternoon nap of a feel-good comedy.

The Spy Kids series once seemed charmingly homemade. These days, it feels less charmingly homemade than maddeningly amateurish.

An egregiously miscast Eisenberg stars as a young man toiling as a pizza boy, even though he displays only slightly less intelligence and savvy than the world-beater Eisenberg played in "The Social Network."

Damn! would be a more insightful condemnation of the exploitation process if it didn't reek so strongly of exploitation itself.

David Dobkin's film has the faults of raucous recent scatological comedies like "Bad Teacher," "Horrible Bosses," and "The Hangover Part II" with none of their redeeming facets. It's scattershot, sexist, and vulgar without being funny.

Dominic Cooper is electrifying yet stiff in The Devil's Double; he's simultaneously the film's biggest asset and its greatest flaw.

Attack The Block turns its modest budget into a virtue by focusing on character, especially the surprisingly charged, complicated dynamic between enemies-turned-allies Whittaker and Boyega.

It's difficult to figure out exactly where the film might be heading at any given point, since it follows the loping, meandering rhythms and casualness of a character study rather than conforming to the conventions of any particular genre.

Winnie The Pooh is a storybook brought to life with intelligence, wit, and palpable affection; where so many kids' films try desperately to come off as hip and timely that they often feel tacky and instantly dated, Winnie The Pooh is bravely quiet, old-fashioned, and wry.

Poignant and powerful, complex and melancholy, the film ends with rehearsals for yet another money-grubbing comeback tour.

In the film's funniest scene, a coked-up Day rocks out to The Ting Tings' "That's Not My Name" in a car in a state of ecstatic frenzy.

Teacher underutilizes a smartly cast-against-type Timberlake and the perpetually winning Segel, but Diaz ultimately earns a rooting interest in the unlikely redemption of her scheming opportunist.

Cars 2 looks fantastic, but the studio has never given audiences - especially audiences over the age of 10 - less reason to be emotionally invested in the beautiful shiny things flying across the screen.

Submarine is the film "Youth In Revolt" should have been, an achingly sad yet ribald account of a hyper-verbal oddball's ascent/descent into manhood.

Like its fellow crowd-depressor "Blue Valentine," Beautiful Boy offers the antithesis of escapism: a claustrophobic, punishingly intense, beautifully measured exploration of the depths of human despair.