Moderately entertaining popcorn thriller.

Bar-Lev ponders myth in both senses of the word-as a web of lies, but also as a psychological construct that gives life purpose. An atheist and critical thinker, Pat Tillman had no use for either.

Akin perfectly captures the antic pace, eccentric personalities, and fickle fortunes of the restaurant game, and his vision of the Soul Kitchen as an all-night bacchanal is irresistible.

How can a romantic drama tailor-made for Julia Roberts from Elizabeth Gilbert's best-selling memoir about self-actualization--shot against alluring locales in Italy, India, and Bali, and directed by the acclaimed Ryan Murphy (TV's Nip/Tuck and Glee)--go so ass-numbingly wrong?

Michael Cera elevates deadpan to an art, starring as a slacker turned action hero in this wildly inventive comedy that's one of the most vivid and spirited adaptations of a comic book since Spider-Man--and one of the hippest since Ghost World.

Stallone directs a bloodbath that borrows liberally from such male-bonding classics as Robert Aldrich's "The Dirty Dozen" and Sam Peckinpah's "The Wild Bunch," but offers not a whiff of the tragic fatalism and astute critique of machismo that inform those superior dramas.

A densely textured moral universe that makes good on his metaphoric title-and in this case, the animals are perfectly willing to eat their young.

The most riveting interview subject is the unrepentant Killen, who granted the filmmakers surprisingly broad access to his personal life.

Michael Keaton is a stitch as an emasculated police captain moonlighting as a retail store manager.

With Mallick as one of the producers, this Boogie Nights wannabe benefits from an insider's knowledge of how online commerce was born but suffers from a seemingly endless voice-over by the Wilson/Mallick character steering our sympathies in his direction (it's the sort of middle man the movie could have done without).

Director Jon Chu (Step Up 2 the Streets) ably exploits the 3D format, constantly moving the action forward and upward. The color and music also pop, as do scene stealers Martin and Facundo Lombard, Argentine twins whose comedic talents nearly match their dizzying footwork.

Eventually the kids figure out that parents and other authority figures (among them Rebecca De Mornay, Anthony Edwards, Penelope Miller, and Aidan Quinn) don't always have it together. Was this trip necessary?

Samuel Maoz drew from his own war experiences to write and direct this searing drama, which ranks alongside "Platoon" and "No Man's Land" as an antiwar statement and recalls the claustrophobic despair of "Das Boot."

A perfect example of the modern comedy mill gone wrong, a prolonged muddle whose plot, specific situations, and improvised quips never line up.

This handsome period drama is the sort of quiet, homespun story that Duvall, who served as executive producer, has always loved.

Cross the cold war nostalgia of "Good Bye, Lenin!" with the larcenous high jinks of "The Producers" and you've got the gist of this zany Russian screwball comedy.

The scenes in which Charlie plays catch with the ghost of his Red Sox-happy brother are only the most mawkish in a movie whose every element is calculated to set a 12-year-old girl's heart thumping.

Based on a novel by Jonathan Ames, this drearily quirky mess wants to be "Secretary" for submissive males, but it's just a sitcom in a powdered wig and size 17 pumps.

For the grown-ups there are sweet, sincere performances by Ginnifer Goodwin, Sandra Oh, and, as Ramona's endlessly game father, the likable John Corbett, relieved for once of his drippy rom-com duties.

There's one nifty and original sequence--an assassination attempt during a state funeral where the pipe organs in the church all go haywire--but otherwise, this is crushingly generic.

Carion might have found a more artful way to dramatize the case's geopolitical impact, but this is still pretty interesting stuff.

The movie takes as its mantra and organizing principle President Kennedy's observation, during his 1961 speech to the United Nations, that "every man, woman, and child lives under a nuclear sword of Damocles, hanging by the slenderest of threads, capable of being cut at any moment by accident, or miscalculation, or by madness."

Solondz has grown so possessive of his characters, in fact, that he's begun to guard them jealously from any one actor.

Unfortunately, the dialogue here is littered with cliches, and Ruben Blades as the dying father is the only character that registers with any degree of authenticity.

The notion that only whites can be racist barely survives this riveting 2009 documentary.

In the interview, a charmingly self-effacing Basquiat displays a winning smile; perhaps no one could explain what drove him, or his 1988 death from a heroin overdose at 27, but we do learn of his alienation from his family.

Inception delivers dazzling special effects and a boatload of stars, but it sags and eventually buckles under the weight of its complicated premise.

The tone is both goofier and darker than the Potter pictures, and some of the magic battles built around New York City landmarks are eye-popping; there's also a genuinely affecting romance between Baruchel and fetching newcomer Teresa Palmer.