Takes a great idea -- what if the inhabitants of a museum came to life at night? -- and milks it for every drop of fun it's worth.

This fourth "Terminator" film is the ultimate heavy-metal parody. Better make that travesty, because there are next to no moments of comedy.

Unlike Nicolas Cage in "National Treasure," Hanks lacks the game for it. The surface seriousness of these Dan Brown movies obstructs his affability and easy, attentive way with romance.

The movie could use less romantic boo-hoo-hoo and more Bunuel: It's engaging whenever Bunuel acts as ringleader or troublemaker, even when he's blustery and piggish.

What makes this movie ultra-contemporary is the way Abrams has re-imagined Spock and Kirk as a team of rivals.

Ghosts of Girlfriends Past displays nary a wisp of life, let alone an afterlife.

An awful film about an awful time.

Foxx is magnificent, taking a role that could be exorbitantly showy (actors playing the mentally disabled tend to forget the word "restraint") and turning in a performance that's controlled and mesmerizing.

What emerges is a fallen warrior's tale: the inside story of a man bloodied and bowed.

Whereas the TV series rarely flinched when it came to showing the animal world as it is, Earth always pulls back at the last second. It shows a cheetah pulling down a gazelle, but not the feast that follows.

Nothing is as it seems in State of Play, a crackerjack political thriller in which no individual, profession or institution gets away clean.

17 Again errs not only by covering such well-trod ground, but also by doing so through a main character - played by a game but ill-served Zac Efron - who's about as dense as they come.

The sensuousness of Lemon Tree is its glory.

Young Cyrus is undeniably cute, and some of her songs are as catchy as the law allows - especially "Hoedown Throwdown," But asked to anchor a full-length movie, she simply doesn't have the chops to pull it off.

This film isn't the most awful comedy of the year (that would be Bride Wars or New in Town), but it may have the grossest antihero.

I hope the producers bring Lin back for the fifth film and strip it down even more. They can lose all the human characters except Brian and Mia and simply call it F&F.

A bittersweet joy. Its humor and romance are refreshing because the writer-director, Greg Mottola, realizes that maturity is a two-steps-forward, one-step-backward process.

Sugar is a near-great movie with qualities more unusual than some all-time classics. It resists cliche at every turn and puts something solid in its place: raw yet controlled observation that gives the film the form of a flexing muscle.

Will pop your eyes without tickling your funny bone.

It's intelligent and emotional, not studied or sappy.

You have to be willing to take a lot of punishment for a few good scares.

A sensational date movie.

This comedy of stereotypes pokes fun at poker buddies and coffee klatches only to make room for variations on more recent stereotypes. Some of the boldest 'types provide the funniest bits, such as Jon Favreau's embodiment of an upscale Stanley Kowalski who treats all-male card games as clan rites.

It's an odd duck: a labor-intensive piece of light entertainment.

Knowing offers mumbo jumbo on an apocalyptic scale.

Light, engaging documentary.

It's a gore sundae with an S&M cherry on top.

May not make adults feel as if they're 10 again, but it will awaken their memories of Saturday matinees that upped children's adrenaline without blinding them with Day-Glo colors or insulting their intelligence.