All one needs to know about Burt Munro, the real-life New Zealand codger and Indian motorcycle enthusiast who in 1967 set a land speed record that still stands today, comes midway through this unabashedly sentimental wall of schmaltz.

While its heart is in the right place, Aeon Flux's head is just a little too high to make much sense.

Writer-director Duncan Tucker does little to develop his narrative setup beyond the basic and obvious, and his film begins to feel more like an exercise than a fully realized story.

Awesome.

Rejecting normality for nomadism, Van Zandt's life was difficult, but, man, what a legacy of music he left.

While the compelling Plowright competently flexes her well-trained muscle, the film's melodrama too readily evokes a Lifetime Original Movie rather than subtle sentiment.

An additional change in the film's adaptation from Scott Phillips' novel substitutes the author's original ending for a redemptive conclusion that seems indicative of The Ice Harvest's unwillingness to really plumb the real depths of the darkness it has set in motion.

This vehicle for hip-hop star Usher is no blinged-out Beamer rough-riding it over to Jay-Z's joint to wallop some cheeba up off'n the Zeezer's haid; it's more of a Yugo, as in "You go to this wannabe straight-to-video tripe, you deserve what you get."

The script, by Adam "Tex" Vegas, ricochets between over-earnest romantic comedy staples and a noticeable lack of any consistent tone for Reynolds’ character.

Despite the grating, workmanlike direction of Chris Columbus (he's no Robert Wise, and Rent is nobody's idea of "West Side Story"), this boisterous adaptation is both a vivacious, wiseacre musical and an inarguable morality lesson: Love is all you need. Oh, and rent, of course.

The kind of film that will be suitable for all-ages entertainment once the family runs out of conversation after devouring all the turkey, but it's unlikely to expand its audience beyond these captives.

Do we like John Wilmot, the second Earl of Rochester? As played by Depp, this 17th-century nobleman-cum-travesty is a carriage crash of epic proportions, and so it's difficult not to crane your neck around to get a better view of the proceedings.

Syriana is the most challenging and uncompromising movie to come out of Hollywood in a long time.

Qualitatively different from its cinematic forbears: It doesn't linger on the gothic curlicues of its source material, it moves straightforwardly from place to place, and it emphasizes the emotional development of its characters with dramatic interplay rather than expressionistic, atmospheric gloom.

Mangold, Phoenix, and Witherspoon, all excellent in their roles.

A charming, winsome slice of Seventies pop kitsch reconceived as a kind of Knight-errant quest for that holiest of all grails, dear old mom.

While the film's depiction of bureaucratic frustrations and familial woe are universal, the characters themselves can be difficult to warm up to and often seem as arid as their surroundings.

This fresh adaptation shakes the dust off Jane Austen's early 19th-century novel of manners and gives it a good airing out. The result is a witty and lovesick skirmish of the sexes that exceeds all expectations.

For some reason Derailed never fully engages our sympathies. I think that's because it's difficult to swallow Owen as anything other than eminently resourceful.

Favreau keeps the picture throttling forward with a carefree charm.

Myla Goldberg's novel about spelling-bee fever, a family in chaos, and religious/mystic exploration arrives on the screen with all its faults intact, but few of its charms.

Watts is in nearly every frame of the movie, so if you're a fan (and you should be) that's the reason to see this.

The transitions from performance to song and to reality are strained and awkward.

Cape of Good Hope is a hopeful piece of humanism that is difficult to begrudge too much.

Broad across and rippling with muscle, 50 Cent mumbles his way through his hits.

It is funny at times – the teams for dodgeball break down into "popular" and "unpopular" – but Chicken Little is painful to watch for all ages.

This is a war film with precious little war, which was also the crux of Swofford's book.

Does not go gentle into that good night.