With a terrific cast led by Reeves, Vera Farmiga and a splendid James Caan, this is a fun comedy with irresistible heist and heart.

The beauty of the film and what ultimately makes it more timeless than trenchant, is the way it side-steps the entire issue of Hanna's sex.

So thuddingly awful you won't crack a smile.

Parents will want to stay for this one.

This foreign view of the subject is anthropologically useful, however the film's photo animation technique transforms family photos (used extensively to fill in historical plot holes) into something that resembles zombie-resurrection.

This Arthur feels flat and lifeless, especially when compared to its highly successful predecessor.

The result is a lively mix of informative and enlightening storytelling, with a healthy dash of poignancy.

The film is a twisty and playful primer that suggests the best thing to do when beset with ugly forces is to publicly laugh them off. What happens in private is your business.

Inside the dreadful action comedy Cat Run, there are about three terrible action comedies struggling to get out.

Sappy melodrama, clumsy dialogue and heavy-handed proselytizing derail the inspirational story of teen surfer Bethany Hamilton.

Epic in scope, and featuring a powerful lead performance by Williams, Reichardt does justice to the myth of the wagon train settlers and makes a Western every bit as beautiful and poetic as Terrence Malick's "Days of Heaven," and thankfully a bit more energetic.

The bright spot-and what saves Greenspan's debut feature from being nothing more than a long tedious draft of an ordinary craft brew-is James Liston's cinematography.

The film engages sporadically but mostly fails to take advantage of its under-documented milieu.

Fun for every member of the family, despite marketing that suggests it may be intended for only the youngest of the bunch.

With a sterling cast and an emotionally powerful performance from newcomer Liana Liberato, Trust packs a real dramatic punch.

Where Rubber veers off the road is that for all its giggly moments and meta-whatever, it's never quite funny enough or scary enough.

Insidious could have been something special: a horror movie that actually horrifies without resorting to gore. Instead, thanks to too many cheap jokes and a bit of silly music, it falls short.

This depraved charmer offers enough to admire and a specialized hipster crowd will enjoy it, if to a mutedly positive effect.

An artistically mature work with pitch perfect performances.

Has a stirring elemental feel and constitutes filmmaking at its most basic and transfixing.

Alternately beguiling and actively irritating, Frammartino's second feature is too uneven to recommend whole-heartedly, but contains so many individually fascinating movies that attention should be paid.

Even better than the first edition, in its own sitcom-ish ways.

Tackling his own original screenplay, Zack Snyder keeps his reputation for outlandish visuals intact but strikes out as a storyteller.

Making the Boys is at once political and personal. It is a history lesson, a sociological study and a memoir. It is a tale told with warmth and humor. And it is irresistible.

Koolhoven manages the difficult balance of entertaining as well as offering a high emotional impact, with considerable agility. Pino Donaggio's soaring and powerful score intensifies all of the drama.

The film proves a gripping, if uneven, cinematic journey.

The real star of the film, however, is Shapiro who, despite treading on marginally derivative subject matter, demonstrates a solid sense of style and a refreshingly delicate hand with actors.

When all the pieces finally come together at the end, the effect is less impressive than it is reminiscent of "Wayne's World": multiple endings, no real impact or weight to either.

Paul is a close encounter with the comic brilliance of Simon Pegg and Nick Frost that makes going to the movies fun again.

To his credit, director Neil Burger either doesn't realize or doesn't care that the material is hokey to the point of unintentional hilarity-if not for the film's intermittent moments of hyper-stylization and its almost crippling sense of self-importance, Limitless might have been a truly unwatchable bore rather than just annoyingly silly and tedious.

Scott excels in maintaining a low, persistent hum of eroticism whose purpose is not titillation or camp.

The Music Never Stopped isn't exactly good, but it's definitely better than you fear it is when you reach the halfway mark.

A Hitchcockian thriller with a bit of "Unstoppable" and a little "Unknown," Source Code is a pulse-pounding flick.

The documentary will resonate with New York Times' readers and fans of personal stories.

This impressive documentary on rarely seen art will have strong appeal for art aficionados.

The most surprising courtroom drama since 1985's "Jagged Edge," The Lincoln Lawyer is a don't-miss cinematic page-turner with enough twists to fill five movies.

A charmingly hardened Carla Gugino reprises her role as the titular porn star, still pregnant and now coping with retirement.

It's worth remembering that eleven years passed between "Judy Berlin" and 3 Backyards, both of which earned Mendelsohn best director prizes at Sundance.

The movie's true horror isn't the murderous extraterrestrials, but the lame script.

The reinvention of this neighborhood may be in the cause of progress for New York's urban landscape, but sometimes you can't help feeling that the planners and the bureaucrats should leave well-enough alone.

Cary Joji Fukunaga's romantic thriller Jane Eyre is to 19th-century literature what "Black Swan" is to ballet: a thoroughly cinematic, occasionally exhilarating reimagining of a repertoire standard.

The perfect family film in every way, moms, dads, kids and even those Martians are gonna love this funny, warm and wonderful tale.

Hardwicke shows a strong grasp at epic fantasy with Red Riding Hood; her nemesis is not a man-eating wolf but an unsurprising script.

The romantic fable of love, marriage, art and second chances may not add up to all that much but the journey is exquisite.

A film with a big heart; it's an eccentric dramedy and a crowd pleaser.

With the stranger in a strange land motif, the movie plays a little bit like the 2007 Israeli dramedy "The Band's Visit" and Liev Shreiber's "Everything Is Illuminated" rolled into one.

Funnier, sharper and sweeter than expected.

It's only sporadically amusing and it's certainly not original.

For the most part, Olliver and Orshoski are smart enough to allow Lemmy's unique personality to come to them, as opposed to pushing a case for it.

The script is intermittently literate and frequently funny, the young cast (headed by Radnor) is highly appealing.

Plenty of people die in I Saw the Devil, but it is that first attack on Ju-yeon in the movie's opening minutes that reverberates through the epic 141-minute running time.

Wonderfully animated, witty and wildly imaginative.

The action, fantasy and suspense elements are all highly enjoyable, but if the romance didn't work this movie would fall apart.

A whimsical essay about the final days of a villager suffering from kidney failure it is undoubtedly one of the filmmaker's most accessible works.

Stylish and funny.

Almost as bad as we want it to be, which is to say, it straddles the line between campy and legit without winning over either audience.

Wilson is nicely restrained as a loving husband caught in a middle-aged crisis, while Sudeikis makes a great foil as a guy in over his head.

The film is at once clever, poignant and timely.

The film is masterfully directed by Xavier Beauvois who co-wrote the screenplay. At Cannes, Of Gods and Men received the runner-up Grand Prix. It's also France's selection for the Best Foreign Language Film Oscar.

Brotherhood moves fast, but it can't outrun its superficiality.

Starved of humor and energy, the interminable Big Mommas: Life Father, Like Son could force Lawrence and co-star Brandon T. Jackson undercover for real.

The dark is not threatening, and metaphorical darkness is even less so; as a result this movie is not particularly scary.

A superficially provocative movie that tries way too hard to be memorable. Horror aficionados will be tantalized before walking away unsatisfied.

Having spent multiple summers in Kashmir as a child, he (Tapa) knows what the average Kashmiri wants and the difficulties they encounter trying to get it. It's what makes Zero Bridge a winning example of modesty in front of the camera and intelligence behind it.

While the anthropomorphism Joubert employs to tell the lions' story may strike some as cloying, ultimately that doesn't distract from this tale of survival in an inhospitable environment.

Shadyac spins cooperation in a different direction. I Am takes the sharing instinct as proof that all living beings are interconnected.

Jones delivers her line readings so robotically that even her truths sound like lies. She's got the look of a Hitchcock blonde, and the movements of a deer in the headlights. Even her kisses look fake.

While Caruso will fail to win over adult reviewers, I Am Number Four will connect with teen moviegoers anxious for a new young adult fantasy fix to hold them until the next "Twilight Saga" hits in November.

Audience appeal will be limited to people who see nothing silly about saying the man who invented the five-point haircut was one of the primary architects of the '60s.

Carancho's noir vibe stems from the scenario itself, plus claustrophobic cinematography and art direction.

The storytelling falters throughout and The Eagle, despite its grandeur.

The positives have an edge over the negatives, but it probably doesn't matter either way. It is an Adam Sandler movie.

Reilly delivers another one of his trademark "nutty pal" performances that continue to win him fans.

Kids will fall in love with it as a movie treat full of heart, laughs and fantastic songs, and it could have crossover appeal as a Valentine date night treat thanks to all its pointy-hatted romance.

The film is a really entertaining look at the Bieber phenomenon; the music in Never Say Never is great and Bieber proves himself to be the real thing as a musician and performer.

Big questions are tackled in this little documentary, the same ones that have been danced with for centuries.

Lovers of Hate would be a family tragedy if the immature antics of the three characters didn't send you ping-ponging from sympathetic chuckles to guffaws of disgust.

It becomes a parade of interpersonal conflict and miserable circumstances that adds up to nothing less than angst-porn.

An amiable endeavor, if something of a puff piece.

What's most memorable about this plodding thriller are the copious amounts of foundation and lip gloss.

Katz, however, is great with gentle moments (his most dear and haunting is the final scene), and he handles the balance of mystery and family drama quite adeptly.

There's plenty of atmosphere and awe, even if it's in the service of a story that starts rote and finds its sea legs only when half the divers have sunk their bones to Davy Jones.

From Prada to Nada might appeal to tweens but word of mouth won't be nearly as strong as Austen's parlor gossip.

It's a wonderfully moving meditation on the capacity of animals to inspire our imaginations and something applicable to educational markets as well as regular documentary audiences.

A refreshingly pure, honest and original love story, Waiting For Forever is one from the heart with superb performances from a talented cast.

The film reaches way beyond the usual activist crowd by making itself as formally compelling as it is tightly argued.

The Rite might have been more affecting if the performances gave just a hint that its histrionics were more than just that.

The new film could have benefited from even a moment of genuine reflection. Being a mechanic seems like a thinking man's occupation. The Mechanic, though, barely has a thought in its head.

The feature directorial debut of Martin Zandvliet, Applause has moments of flourish and moments that reach towards something as pared down as Thea's play.

Araki's got a certain garish flare to his delivery that those more patient with the content will find appealing and Thomas Dekker offers an engaging performance.

A superbly well-crafted film, faithful to its cultural and cinematic heritage, and easily one of the most enjoyable entertainments of a still nascent 2011 post-holiday season.

This is a wholly accessible story that most filmgoers will find pithy and generally well done.

For all the interviewees who tearfully speak of her work, the film does anything but.

Tedious and forgettable.

A grueling, stunningly photographed story.

Evokes a New York sentimentalist tradition that mixes the edge of golden era Cassavettes with the nostalgia of Woody Allen-all of which owes eternal debt to the western European New Waves and Bergman.

With high production values and a glossily enjoyable mise-en-scene, the film is watchable.

Auds will be wise to the contrived metaphors and realize there's not much going on below the surface except stock discourse.