This "Transformers" is better than the second film (though that's not saying much), with some enjoyable bits here and there.

As much as his admirers praise him, they also say they don't know much about him or his private life. Press opens a small window into that world.

If there is a common thread, it's that for all these people life is not a passive activity. They live their lives, largely in the ways they've wanted to, and don't just wait around to see what's next.

A beautifully made, glorious mess.

A delightful film - gentle, playful, creative and ultimately happy - though it's a tricky journey.

Probably it's a combination of those and other elements that leads to Diaz's bad teacher not being as bad as she might have been and Bad Teacher not as good as it could have been.

What Cars 2 lacks is that moment the best Pixar films have, when parents and children alike stand slack-jawed with awe at something wonderful happening on-screen - when the films move beyond mere entertainment and become something more, something better.

Thanks to Highmore's performance, George is worth sticking around for - and thanks almost exclusively to Highmore and Roberts, so is The Art of Getting By.

What Sheen and Bello provide, however, is searing acting. Their performances - genuine, awkward, difficult - are not always easy to watch but never are less than tremendous.

There's nothing bad about Skateland, in fact, particularly for those old enough to remember the clothes, the feathered hair and the soundtrack. There's just nothing new, or anything that hasn't been done before, and better.

Director Mark Waters manages to wring some charm out of the film, and out of Carrey.

Beautiful, baffling, poetic, pretentious, it's one big ball of moviedom. Malick tackles the whole shooting match, pondering (and showing) the creation of the universe, life itself, death and the afterlife, and everything in between.

There are moments when this funny, self-consciously quirky film feels a bit like a Welsh "Napoleon Dynamite."

The story is a grab bag of only-in-the-movies kid problems and ridiculous adult behavior.

It is just a tremendous amount of fun.

An unapologetic love letter to the popular board game. It's also almost - but not quite - something more.

It's also a head-scratcher: How did a movie this stubbornly old-fashioned ever get made by such a trendy French director as Francois Ozon.

A tremendously entertaining take on film noir, with all the usual elements of the genre in play - crime, death, possibly murder and doomed romance.

X-Men: First Class isn't anywhere close to being a genre classic like "Spider-Man 2" or "The Dark Knight," but it is good enough to rejuvenate a franchise stuck on idle.

Greenwood is fantastic; his Meek occasionally lets down his facade of omniscience - but only occasionally. And Williams gives Emily not dignity exactly, but a calm, steely insistence on survival.

A delicious trifle for anyone who has ever dreamt of bantering about the cinema with Luis Buñuel or lounging at the piano to hear Cole Porter sing "Let's Do It."

This isn't even really a sequel to the hilarious 2009 comedy smash set in Las Vegas. It's virtually the same movie, just transferred to another continent and with the raunch wildly amped up.

A precisely calibrated crowd-pleasing machine, balancing action, comedy and just the bare minimum of pathos.

Yun's performance is genuinely beautiful, a haunting expression of life, of its disappointments and its possibilities, rendered in a way that befits the title.

Gibson's performance, at times subtle, at times showy and never less than remarkable, is what makes The Beaver worth seeing.

Depp's performance is still one of the few bright spots in the movie. Richards is back, too, in an all-too-brief appearance as Sparrow's father.

Depending on your own relationship with food, the pro-vegetarian documentary Forks Over Knives may be an inspiring call to action, a tedious bit of propaganda or a 90-minute guilt trip.

Everything Must Go leaves the resolution open, not telegraphing Nick's future. It is as unsettled as life, and the film is all the better for it.