Unwatchable-and, thanks to its high-decibel action sequences, barely listenable-this misbegotten medieval fantasy/stoner comedy marks a new low for David Gordon Green.

This movie is too pedestrian for camp, and too scattershot for an action comedy.

"A Film by David Schwimmer" is not the sort of credit that fills me with anticipation, but I must admit he's done a solid job with this queasy drama about the rape of a 12-year-old Wilmette girl.

Three decades of skyrocketing income inequality have soured the comedy of Arthur's astronomically expensive self-indulgences.

As "Kick-Ass" proved, there's a ready audience for the spectacle of a school-age girl who's a relentless killing (as opposed to texting) machine.

AnnaSophia Robb (Charlie and the Chocolate Factory) is too subdued as the teenage heroine; one might expect more affect from a young woman fighting to overcome disability and return to competitive surfing.

Aesthetically, Insidious operates at the level of a decent high school video project.

None of this makes any sense if you think about it, but the idea is so much fun that thinking about it may be your last impulse.

A thoughtful and admirably nuanced moral drama.

The script is a veritable cosmos of Spielberg in-jokes, but the writer-stars also make room for some vicious and decidedly English digs at red-state shit-kickers and Christian fundamentalists.

This pungent neo-noir can be sleazy and over-familiar, but like the protagonist, it's so smart and crafty that you may forgive its flaws.

The new version of Jane Eyre is far and away the best I've seen, thanks largely to the skilled young actress Mia Wasikowska.

Some might call this movie a step backward after Burger's previous feature, the painfully honest Iraq war drama "The Lucky Ones," but as a stylish intrigue it's hard to beat.

Packed with gung ho war-movie clichés and subpar shock-and-awe visual effects, this terminally stupid sci-fi adventure pits an army of tentacled aliens piloting "Transformer"-style robots against a platoon of stoic warriors from the Fifth Marines' Second Battalion.

The result is pretty entertaining, though most of that entertainment derives from Katz's skillful exploitation of gumshoe formula.

Thankyoubutnomoreplease.

Alternately harrowing and humbling, this is a story of ordinary men whose compassion is tested in the cruelest, most profound fashion.

Like an idiot, I came to this movie hoping that director Catherine Hardwicke-who made her debut with the bad-girl shocker "Thirteen" (2003)-might engage in a feminist interrogation of the old fairy tale, just as French filmmaker Catherine Breillat has with "Blue Beard" (2009) and "The Sleeping Beauty" (2010). Instead this is a muddle-headed horror flick.

Loosely adapted from Alex Flinn's young-adult novel, this "Beauty and the Beast" update is a pallid, formulaic teen romance that might have benefited from a little snark.

As on their TV collaboration, "That '70s Show," the time period never extends much farther than hairdos, costume design, and soundtrack hits.

This features the usual slapstick, double entendres, and riffs on classic films, but what elevates it above a cheeky romp is the skilled CGI work, not only the wealth of tactile detail lavished on the parched townsfolk but also the painterly, sand-swept vistas they call home.

As in Christopher Nolan's Inception, the premise is so mind-boggling and fraught with implications that it tends to obviate the action mechanics of the last couple reels.

For all his good intentions, screenwriter Paul Laverty (best known for his work with Ken Loach) is didactic and crudely manipulative.

The premise of this South Korean import may call to mind that of another, Bong Joon-ho's recent suspense film "Mother," but Poetry is another bird entirely: true to the title, writer-director Lee Chang-dong is principally concerned with rendering emotions that seem inexpressible.

A trio of stridently weird performances--from Nicolas Cage, William Fichtner, and David Morse--brighten this otherwise rote actioner.

As in "Breaking Upwards," the best joke here is that the wives (Jenna Fischer, Christina Applegate) wind up getting more action during the marital recess than their hapless hubbies.

The snow and haze that Spanish director Jaume Collet-Serra (Orphan) keeps pumping into the street scenes seem to have drifted into the script as well.

Funny, scary, and exuberant, Kaboom delivers the goods as both a generational marker and a tale of things to, uh, come.