Reiner has crafted the perfect summer film in The Magic Of Belle Isle. No, not one with a lot of noise and battles and comic book heroes, but rather a wonderfully laid back family story set around a gorgeous lake, about the everyday problems of real people from 7 to 70.

Beyond the Black Rainbow is the kind of movie whose cool-looking trailer entices you to midnight screenings, but the film will bore you so profoundly you'll fall asleep halfway and wake up disoriented during the closing credits.

Perry's latest is crudely assembled and mostly emotionally unengaging.

Fans of the 66-year-old guitar god (which is to say the only people who'll see this homespun gem) will revel in Young's winsome cruise down Memory Lane.

Savages is one of Stone's best movies with a ménage et trois love story giving some human dimension to its three young leads.

Meet the new face of superheroes: Marc Webb's totally teenage and totally fun take on the Spider-Man franchise.

Like "Anvil," this is a crowd-pleasing triumph of the spirit, framed around a story so bizarre it sounds like an urban legend.

Movies don't get much funnier than Ted.

By way of remarkable sleight-of-hand, Steven Soderbergh's Magic Mike both is and is not the freewheeling, fun-loving, male stripper extravaganza its trailers peddle.

Williams embodies Margot's inner turmoil with an unfussy sense of terrified instability.

Seek this one out though, because it's too unique and too defiantly strange to survive for long in today's Darwinian and consumerist exhibition environment.

It's not nearly as snappy or campy as it should be-though its self-seriousness is its own kind of entertainment.

This film stands out as one of the year's best.

A charmingly lo-fi love story.

There's no denying the film's refrain that legends are lessons, but Brave is sadly remedial.

The Invisible War is that rare, issues-driven documentary that is so powerful it's apt to change minds.

That's My Boy has the same freewheeling appeal and potty-mouthed, go-for-broke mania of Sandler's earlier comedies. But there's a new undercurrent of energy that's likely the consequence of Sandler separating from his usual collaborators.

Too bad the film's obscure star will be a hard sell to non-music geeks or anyone born after 1965, because this film's a blast.

Blending a perfect brew of classic '80s songs, big laughs and rockin' performances, director Adam Shankman manages to make this film adaptation of the hit Broadway jukebox musical a red hot summer blast for people who grew up with glam metal - or just can't escape it on the radio.

It's a great (if middle-of-the-road) family comedy to seek out.

He's either daring you not to laugh or daring you not to care, but either way, you'll laugh, care and worry about the consequences in Dark Horse.

Not sure if you'll enjoy Safety Not Guaranteed? Here's a quick litmus test: how do you feel about watching Mark Duplass, accompanying himself on zither (!), singing a heartfelt song about how "everyone in the big machine tries to break your heart?"

Lola Versus arrives with a pedigree that suggests it should be better than it sounds. It isn't.

What it provides (instead of the thematically clever dialogue of typically subtle French comedy) is biting wit, poignancy and, forsaking some structural nuisances, the summer's best bromance.

The film's length and muddled message will likely keep it from reaching much of an audience, even within the presumed Latino faith-based target.

Slapdashly assembled and lacking in dance thrills, the poorly promoted Battlefield America will drive away the few audiences that show up.

Beneath the hype and promises, however, it's almost a letdown that the actual film is merely very good: a better-than-average 3D big-budget space tale.

Like Carrie without the telekinesis, this horror movie replaces the supernatural with blunt brutality and dark humor to terrific effect.

It's hard to imagine who will thrill to this violent, gorgeous, and empty film.

It seems impossible that a sequel to a movie as ridiculous as "Piranha 3D" could disappoint but Piranha 3DD stops at mediocre before arriving at gloriously bad.

If this horror movie cashes in on the audience that echoes its character's awareness ("That's where the nucular thing happened, right?") then we're about to learn how low our national academic standards are.

Europe's Most Wanted is so full of laughs and great characters, it's easily the best in the series. Like "Toy Story 3," the Madagascar gang just gets better with time, and this new adventure is funny, exciting and heartwarming.

Men in Black 3 is exactly what you'd expect: amiable mediocrity and nicely laid-back performances with pricy special effects plugging in the gaps where jokes should be.

A film about how outwardly alienating our circles are (much to the detriment of our careers) and how caustic our supposedly nurturing intimacies can be at the same time.

The director of quirky fare with a rabid cult-like following has made a charming, magical and really funny new work about two unique young kids discovering love over one unforgettable summer, and it's the director's most accessible movie yet.

Its endless parade of explosions, battles and general mayhem makes Michael Bay seem like Ingmar Bergman in comparison with Battleship director Peter Berg.

What to expect from What to Expect When You're Expecting: laughs, heart and a terrific ensemble of actors doing what they do best.

Actress and director Maïwenn Le Besco (a.k.a. Maïwenn) confounds expectations by drawing together a heart-thumping patchwork of dramas and emotions.

Though the film is a fairly plastic British period piece with all the intimacy of a Hitachi Wand, the script captures some delicate and intelligent facets of a tensely conflicted era.

You'll laugh and be offended, but if you watch it and don't want to be part of the solution, you'll know which side of the line you're on. Activism takes some unique forms.

This archly self-aware coming-of-age tale fizzles, as the targeted Latino audience is upstaged by a culture more firmly rooted in the film's soggy Seattle setting.

A superb vehicle for Sacha Baron Cohen's over-the-top socio-political outrageousness.

It's a great time at the movies and a wickedly clever cinematic treat.

It has its moments, although the charmless main character Julio (played by Diego Noguera) begins to get on your nerves, as he seems incapable of extricating himself from difficult situations.

A coming of age story in which the children better the world for the adults, Kore-Eda's heart is in the right place.

Likely to disappoint both literary aficionados and action-thriller fans, the film neither captures the creepy atmospheres of Poe's influential writing nor works on its own.

Safe bangs along respectably enough, all thrown fists and cheeky comments, but it never feels like more than a second-tier video game brought to life.

The Pirates! Band of Misfits is one of the funniest animated films in years, or to put it in terms you scallywags can understand: it's a treasure trove of laughs.

It's the sheer lack of investment one feels for the couple that truly sabotages the film.

Fischer and Messina may make a cute pair, but amidst such contrivances, they're powerless to make this RomCom seem like anything more than a creaky retread of obvious indie clichés.

Sound of My Voice offers promise and pay off at the same time. Star and writer Brit Marling is having a rare double-whammy of a debut.

Bernie is an interesting guy, but he doesn't make for very good company.

The bad news is that if you haven't seen "Thor," "Captain America" and "Iron Man 2" - that's six hours and three minutes of homework - The Avengers won't make sense. The good news is if you're a human under the age of 45, you probably already have.

A winning cast and solid writing from screenwriters Keith Merryman and David A. Newman (Friends With Benefits) should appeal to men and women alike.

Kids should especially like this magnificent and heartwarming look at the life of young Oscar.

The emotions are flat, predictable and forced when they ought to be romantic.

With bubbles of nascent arousal frothing at the film's feminine surface, Moth Diaries' commercial potential is likely to hinge on whether or not audiences can stand to be confronted with the confusion they felt as adolescents.

Stolidly maudlin, this enervating sub-middlebrow pic is doomed to well-deserved commercial obscurity.

Sure you could just go and rent the original DVDs, but this kind of gut-busting, hit 'em in the groin humor is still funny as hell, especially in the hands of the Farrelly Brothers.

The kids, especially Néron and Nélisse are irresistible and supporting players are well-cast. Human dramas like Monsieur Lazhar are a rare breed these days and this exceptional example is one to be cherished.

Lockout isn't high art, but it's ridiculous fun.

Visually sumptuous and with a real literary beauty in both its narrative structure and dialogue.

Still, the fans are lovable no matter how mixed the Comic-Con bag is, and Morgan Spurlock is precisely the doc maker to tell us about it.

The result is the best slice of Pie yet: a savvy sequel that's flat-out hilarious raunchy fun.

Piccoli in a role that relies on looks, gestures and very few words, does not hit an off note, making him into a silent, everyman figure.

A gripping new documentary that's essential viewing for anybody who believes that the impact of global warming is tomorrow's problem.

It's a mixed blessing to see these dramas play out in Norwegian, surrounded by what we tend to imagine are more liberal perspectives on sex.

While the scenario has all the smirking charm of Stillman's earlier movies, the sobering realities of off-campus life are never even alluded to, and the humor of insularity eventually becomes stifling.

Graceful cinematography captures the loneliness and isolation of these kids with understatement, even when the director succumbs to twinkling piano that pulls a tad too hard on the heartstrings.

Strictly for kids, but pure movie fun nonetheless,

Wrath of the Titans delivers blockbuster bluster with single-minded blandness.

An orgiastic barrage of violence, The Raid: Redemption is, at least in its finest moments, one of the most breathless, blistering action movies in recent memory.

As action, as allegory, as cinema, The Hunger Games is the best American science-fiction film since "The Matrix," and if Ross and his crew stay with the series for the next two books, we may get that rarest of things: a blockbuster franchise that earns our money through craft, emotion and execution, not merely marketing and effects.

Is the result - a slapstick, bizarro melodrama where Ferrell plays the Mexican born and bred scion of a wealthy farmer - meant more for Spanish speakers or stoned and giggly Americans? It's a tough call.

It is the boy's tough exterior and lack of self-pity that binds the narrative together, making this one of the Dardennes' most appealing undertakings.

Drew Goddard's giddily brilliant The Cabin in the Woods has a lot on its twisted mind.

While A Thousand Words features some reverent flashes and even has the potential to touch audiences (a moment involving a mother with Alzheimer's particularly hits home), it suffers from being too broad.

A family drama that looks for answers in coincidence (is it really ever coincidence?), this endearing and breezy comic fable watches Jeff's coming of age and promises nothing after his moment of truth.

Jonah Hill is masterful at delivering an absurd story with so much sweetness, the nonsense ceases to get in the way.

Although Westfeldt's sharp screenplay is mostly talk, it's very good talk.

A smart, winning and comic, if at times bittersweet, treat.

Joseph Cedar's Footnote is a wry, wise little film that revels in the cataclysmic import of a life's most ostensibly trivial details.

The film's biggest (and saddest) crime is malaise - it's not that John Carter doesn't care about what it's doing, it just can't make us care, even though the magnitude of every event, conflict and emotion is as melodramatic as its Victorian roots.

A shrewdly understated satire of feel-good dramas disguised as gross-out inside jokes, Tim & Eric's Billion Dollar Movie should alternately leave some viewers in stitches while making others quickly leave the theater.

Silent House is undeniably built on its "one-shot, real-time" gimmick. And while it works reasonably well - especially in the first half of the film - it's still just a gimmick trying to gussy up a common horror flick.

This is purely warm, wonderful, wise and hilarious family entertainment that is fantastic movie fun for everyone.

This Is Not A Film and "A Separation" masterfully show Iranians that are full of the same passions, concerns and desires as the rest of the world-an incredibly important accomplishment now that the drumbeat to war grows louder each day.

The film's strength isn't its shock tactics - it's the rapid-fire, party montage editing that finds a million natural ways to put mundane actions and moments up against each other for comic effect.

Gone starts off as a character study about a woman struggling to regain control of her world in the wake of a horribly intrusive event, but that sort of thing doesn't make for a fun night at the movies, so it quickly concedes to a Hitchcockian "wrong woman" riff, in which sexually motivated abduction serves as the worst MacGuffin in movie history.

Tyler Perry has finally achieved an odd kind of equality that heretofore eluded him: he's now just as mediocre and middle of the road as any other reliable hitmaker in Hollywood.

Shows remarkable access to military materials and personnel but, as a film, is unremarkable every other way.

While "Role Models" mined riches even in the well-plowed comedic soil of cretins befriending kids, Wanderlust's equally musty city-vs-country culture clash plot finds only flecks of hilarity in mostly bland-to-bold mediocrity.

So it's a half-certainty, half-shock that Ghost Rider: Spirit of Vengeance is both good and bad, a sequel that's hungry for thrills but bereft of the cohesiveness - and budget - to be a full meal.

Norton's tale of an undetected community of tiny people is perfectly suited for a cartoon and this beautifully rendered, almost old-fashioned version is a gem.

An impressively dark and well-crafted crime tale about, of all things, cattle farming and "the hormone mafia underworld."

This is one of the super rare docs that packs an unbelievable punch despite its misguided aesthetics. It's a strange triumph of content over form, which is the province of journalists to report.

A dating fantasy for girls and an action bromance for guys, This Means War wins the Valentine date crowd in swoops and strokes, but does it lead to swoons? Not really.

A messy if initially intriguing take on sci-fi-underpinned high school angst for the vlogging age, Chronicle eventually grows repetitive and stale.