Zealously nasty fun which, surprisingly, ends on something of a note of upbeat grace and familial redemption, Middle Men is more entertaining than 99% of 37% of the Internet.

The film is delicious, welcome, and entirely satisfying and, as an added bonus, far and away the best genre-fan date movie of the year.

There's no getting around how dreadful Twelve is – how tone deaf it is to its young protagonists and how vapid its ersatz production design seems.

The scoped camerawork is a shrewd tactic; only occasionally does its flat, proscenium effect make the action feel overly staged.

There are inspired gags, to be sure, but they're few and far between.

Though the soundtrack comes on kind of heavy, the cinematography (by Enrique Chediak) has a beautiful clarity. Yorick's skull or not, Charlie St. Cloud is no Shakespearean drama, but the film should prove to be another solid stepping stone for Efron on his way to a long adult career.

Although it's great fun for the under-8 set and for those of us monitoring the chaos theory that is Nolte's career of late, this film is otherwise mediocre and features some of the most uninvolving 3-D CGI since "Clash of the Titans" earlier this year.

A strong first film, and with a better-honed script, Williams should prove to be a director to watch.

You need only see Get Low for absolute proof that, while Hollywood may be in decline even as bad actors' salaries climb ever higher, there remain at least three very exemplary reasons – Duvall, Spacek, and Murray – to switch off your home theatre and get out into a real one.

It's nail-biting good fun, sporting some très haute couture nails.

Refreshingly anti-princess and sweet without degrading into sugary, Ramona and Beezus animates Ramona's frequent flights of fancy with DIY-like sequences that literalize, quite charmingly, how a kid colors the world.

Recounting the history of nukes, mankind's seeming inability to render them obsolete, and the many nightmare scenarios that are cropping up with almost daily frequency in this grim new age of terror-on-demand,Countdown to Zero is less a documentary in the traditional sense than a scathing piece of advocacy journalism.

If taken merely as a vaguely historical spy thriller, Farewell is a dandy tale.

Call it the aesthetic of un-Happiness.

Nolan’s end-act pacing has always felt ponderous – but it’s not enough to ruin what is surely the most intellectually and viscerally engaging action film in years. The soul doesn’t stir, no, but everything else is wildly somersaulting.

If there were any brooms in Disney's new Sorcerer's Apprentice they would have to be used to sweep this tired dreck to the curb.

The Kids are All Right, a grin-cracking great portrait of a modern American family in minor and then major crises.

Summer was made for this kind of film, and Predators is almost exactly what you need to fix this otherwise busted summer cinema season.

Everyone knows that the villains are usually the most interesting characters in any movie. So the makers of Despicable Me were wise to cut to the chase and make the megalomaniacal Gru (voiced by Carell) the central character in this animated film.

The Girl Who Played With Fire's chief frustration is in how removed Salander and Blomkvist are from each other.

Cast aside any preconceived expectations you might have regarding this documentary and remember simply this: Winnebago Man is one of the best films you're going to see all year.

With a surprising lack of verve, humor, and narrative tension, Shyamalan's live-action foundation film is unlikely to woo new fans to the tale.

The supposedly epic battle the entire film builds toward – the single action set-piece – is a ho-hummer. Fire and ice, turns out, was an oversell: Think tepid tap water instead.

Grown Ups is exactly, beat for beat, what the previews would have you believe: a depressingly predictable, two-chuckle deconstruction of what Sandler sees as the modern American male.

Restrepo is an example of photojournalism at its finest.

Who, exactly, is stalking whom, and for what reason? I'm still not entirely sure, but Resnais' funky, frothy bonbon of a film is nevertheless a breathtaking sight to see.

Frankly, I don't like to be bullied, and bullying is exactly what Knight and Day – overly cute and overconvinced of its own cool – does best.

The resulting film makes Sam Raimi's "The Quick and the Dead" look like a stone cold neo-Western thoroughbred.