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.