A slight, facile, and ultimately yawn worthy romantic comedy, and one of the most obvious if unexpected missteps in Hanks' career.

(It should also be noted that Page One wears its pro-Times bias on its sleeve, right up to the rankling but now-common inclusion of a "get involved" Web address at film's end.)

Pass the popcorn, dude; this shit rocks.

Meehl's documentary features plenty of interviews with cowboys and ranch hands who've had their lives – and their horses' lives – changed by Brannaman, but it lacks the literary or cinematic magic of either version of "The Horse Whisperer."

Grief doesn't exactly sound like a promising starting point for a love story, but, really, what a bounty Mills presents to us of beauty and buoyancy and possibility.

In the sea of mediocrity that passes for children's films these days, Mr. Popper's Penguins has enough originality (and silly physical comedy) to make it stand out.

It's a helluva comic book, to be sure, but it's a godawful mess of a movie.

Cars 2 makes for a decent play date but is not an especially good movie.

Plays like the Brothers Grimm meets "Cloverfield" with a hint of Monty Python-esque ridiculousness. For a small indie film from Norway, Trollhunter rocks it gargantuan style and then some.

Flaccid, endlessly irksome coming-of-age drama.

Although I'm generally a fan of movies that choose to star girls (of any age) as their lead subjects, Judy Moody and the Not Bummer Summer simply strikes the same whiny chord over and over.

Submarine pulls off the difficult trick of being bittersweet without being saccharine and does so with a quietly riotous aplomb.

It's all vastly superior to Brett Ratner's scorched-earth "X-Men: The Last Stand," of course.

Ultimately a mystery box that lacks a treasure at its core.

Quite simply, Midnight in Paris is charming – très charmant, to ape the argot of the locals. I say that somewhat tongue-in-cheek, as this is very much an outsider's valentine to the City of Lights.

Ultimately, it's the period and character details in Super 8 that provide the grist for its winning formula, rather than its emotional arc and monster jolts.

It would be difficult not to be swept away by the dramatic intensity of Incendies.

Even when The Tree of Life does not achieve the heights for which it aims, it soars boldly and fearlessly.

The abyss between the boy and the man he may become is cold, black, and unforgiving. Adapted from Jan Terlouw's 1972 novel, this is an often emotionally harrowing depiction of a young idealist running smack into the brutal reality of occupied life.

We have pretty much all the information we need within the first half-hour, which undercuts the supposedly climactic reveal of the contents of Maruge's letter and renders the torturous flashbacks unnecessary for narrative purposes. And not a little bit sadomasochistic, too – an ill fit for a PG-13 family film.

Kids are bound to get a kick out of these kung fu creatures.

This Hangover is a doozy, not quite as much fun (or well-written) as the original, but neither does it lack for lunatic plot complications that could only spring from the minds of writers Phillips, Craig Mazin, and Scot Armstrong.

Burns has done such a thorough job of perfectly re-creating the moment that even the non-events (family dinners, procrastinated college-enrollment applications, the banal yet life-or-death routines of being a teen on the cusp) are lovingly rendered.

It's a Herculean task to steal the thunder from a Johnny Depp performance, but Richard Griffiths (best known these days as Harry Potter's tubby Muggle uncle, Vernon Dursley) does exactly that.

Provides no revelations and left this viewer, at least, puzzling over whether the picture Cunningham has allowed to develop of him is completely transparent or utterly impenetrable.

Definitely catch this movie in its 3-D iteration, as Herzog practically schools filmmakers in the technique's proper use.

Bettany exudes an intensity that lays the groundwork for an interesting character, but Priest hasn't a prayer of creating anything more subtle than the giant cross tattooed on his face.

There is no question that Yuen Woo-ping is a master of his craft, but True Legend leaves doubt as to his mastery of the art of storytelling.