The movie's simple-minded lesson that forests are good and development is bad is undercut the minute one pauses to think about how many natural resources were wasted on this sorry excuse for a motion picture.

Odd but endearing, The Good Heart has just exactly that--a good heart--mixed with a simplistic story that comes recommended as a showcase for two fine actors at the top of their game.

Not to be overlooked are the film's wealth of fine supporting performances and technical contributions-the always wonderful Emily Mortimer, Martin Ruhe's extraordinary cinematography and Kave Quinn's incisive production design each playing a part in what must be considered one of the very best films of the first half of 2010.

Mercy can be described as a moody picture that traffics in variations of only one mood or sentiment: self-pity.

It may take some time but Nicole Holofcener’s latest effort gradually grows on you. Partly it’s her obvious affection for her oddball collection of characters; partly it’s the performances of the likes of Keener and Oliver Platt as her wayward husband.

More of a stunt than a script, The Human Centipede (First Sequence) should get a modest amount of I-dare-you ticket sales, but it's about as mass market as a dogfight.

Listen closely, however, and amidst the zingers and world-weary chatter, Chekhov's generous humanism comes through loud and clear.

The overarching lesson is twofold: environmental issues are never as simple or as cut-and-dried as we would like, and the first order of business is to get the science right.

The Losers not only looks like a low rent, buttoned-down version of The A-Team, but it also resembles a hybrid of other flicks like "Mission: Impossible" and "Inglourious Basterds."

Although it’s formulaic in the extreme, The Back-up Plan is an easygoing romantic comedy treat for fans of Jennifer Lopez.

This doc contributes to the small collection of films on burlesque something more self-aware looks at the matter don't: an exposition of the messy history of a complex popular art that still leaves us with much to explore.

Best Worst Movie is a must-see for students of film criticism and the philosophy of art.

The entertaining non-stop action has the potential to give the film wide cross-over appeal and cult status.

Appearances by Toni Collette and Whale Rider’s Keisha Castle-Hughes should draw a few curious parents to what is, most of the time, a quirky and quite enjoyable coming of age saga.

The compellingly awful thriller, In My Sleep--in which Melrose Place meets imitation Hitchcock--is so unselfconsciously derivative that you have to admire it…or, if you don’t admire the movie itself, than admire the jejune chutzpah of writer-director-producer Allen Wolf.

Too introverted and gimmicky for its own good.

The film’s warmth and heart comes from introducing us to someone born to do exactly what she’s doing.

Narrated by Pierce Brosnan, Oceans is simply amazing at times, a truly remarkable and extraordinary journey under the sea that takes us places we have never been before.

A clever movie premise based on an obscure comic book has been turned into, okay we’ll say it, a fanboy’s kick-ass wet dream of a movie that could be a surprise Spring smash.

The doc has won a host of awards at film festivals and it is a policy wonk's dream of a movie, but it is dry, statistic-laden viewing that is unlikely to attract much attention beyond education circles.

Performances are generally first-rate with Hopkins exhibiting an ease and laid-back approach that serves Adam perfectly.

Offers very little new for those who saw the original.

Borte supports his jewel of a story idea with dead-on casting, stunning images and product placement that's intentionally heavy-handed.

The movie, largely improvised and totally believable, is often very funny, and the glimpses of life inside what remains a very repressive regime are fascinating, but in the final analysis, despite a fairly grim denouement, there's little here you haven't already seen in Hollywood flicks like "Singles."

Really a perfect family movie.

Campanella has laced his story with twists and turns worthy of Hitchcock and the framing device of the novel (which forces the protagonist to sort out the whole thing through writing) is ingenious.

This doc is far from perfect, formally it accomplishes nothing new and has opportunities to go places that could have been massive, but these missed opportunities don’t undermine its other accomplishments. It’s imperfect and still does quite a lot.

It’s a crock to believe a film’s worth a twirl because it has a saucy title.