Former New Jersey Gov. Jim McGreevey and Outrage argue that the closet suffocates decency and happiness, and the film ends with a freeze-frame of the now-popular folk hero Harvey Milk. However, were we to give up our right to self-denial, I contend that America would cease to be a land of freedom.

Living up to its title, Rudo y Cursi is appealingly tough and corny but contains little that causes these elements to congeal into anything greater.

It's not necessary to be a longtime fan of the Star Trek universe to appreciate the sheer emotional punch and swagger of this rough and randy Enterprise crew.

Spielmann’s deft storytelling is coupled with immaculate compositions that constrain the characters as confidently as any prison bars. Revanche reveals Spielmann as a true master of his craft.

Wolverine is a noisy mess, an origin/prequel that's nicely full of Jackman's ace glare as Wolverine and seriously killer snarl – The Boy From Aaarrrgh! – but utterly devoid of any of the borderline subversive smarts that made Bryan Singer's "X-Men" outings so contemporarily resonant.

Battle for Terra boasts impressively executed battle sequences that, frankly, are light-years beyond anything found in the recent Star Wars animated add-ons.

Ghosts indeed: This romantic comedy by name alone attempts to make funny – not to mention culturally relevant – the kind of swinging-dick misogyny that went out of fashion years ago.

Filled more with character studies than narrative intrigues, The Merry Gentleman also provides only sketchy personality details and background information.

The top-line talent, particularly Thornton and Rourke, do manage to hold our attention with idiosyncratic performances, but most of the others are a jumble of fair-haired, disaffected boys.

The film may seem a bit undercooked until it gets to the staging of the ultimate battle, but Obsessed is swinging from the chandeliers by the end.

Howard's snappy-smooth performance, unsurprisingly, is what elevates Fighting from its hoary genre predecessors.

With all the hallmarks of a prestige picture, chief among them a great cast and creative crew and an "important" message, The Soloist plays its tune with a frequently heavy hand.

It's brutal to watch the bigger-they-are-the-harder-they-fall tragedy of this once-great heavyweight. In fact, it's enough to make you cry.

This first release from Disney’s self-explanatory new arm, Disneynature, is at the very least peripherally concerned with the planet and its dwindling prospects, but the real renewable resource here is the groundbreaking "Planet Earth" miniseries.

The problem with this American indie filmed in Korea is that, despite the captivating faces and sad predicament of these little girls, nothing much happens.

It neither embarrasses the original, nor is superior to it in any way.

Though remaining sweet and tasty, Efron, in his first non-singing and dancing feature film proves he has an agreeable and kinetic screen presence, although his ability to convince us he's truly a 37-year-old encased in a 17-year-old's body is dramatically dubious.

Worth a look.

Laughably and knowingly preposterous, cheerfully un-PC, and violent in a way that makes the myriad slaphappy deaths of Wile E. Coyote seem downright dull in comparison.

Filmmakers nicely mix the historical and the tributary, honoring both Bennett's cultural landmark and the dancers who dream of joining its ranks.

On the whole, there are precious few life lessons in Is Anybody There? that haven't been noted before.

The most remarkable aspect of Lemon Tree, however, and the one that's most likely to land this film on many year-end Best Foreign Film lists, is Abbass' devastating and marvelously restrained performance.

Bottom line: costumed Goku and Chi Chi cosplayers may argue the finer points of this adaptation, but it is fairly dazzling it its own overextended, futurist-teenpulp fashion, and Chow makes a vastly more entertaining Roshi than he did a King.

Cornpone caricatures abound (witness "Hoedown Throwdown," in which Miley sunnily urges us to "pop it, lock it, polka dot it"), but so do worthy messages about responsibility – to family, community, even Mother Earth.

Midway through, a character remarks as he leaves the scene of a takedown of Ronnie, "I thought this was going to be funny, but it's just kind of sad." The same thing is true about the movie as a whole.

Lymelife arrives with an impressive pedigree but, unfortunately, little originality.

A confident return to the kind of teen comedy that's funny without being raunchy, youthful without being juvenile, and reflective without hitting you over the head.

Sugar is a curiosity – too somber for a picaresque, too arm's-length for much emotional effect – and while it's interesting, it's never truly absorbing.