Justin Timberlake continues to demonstrate that he is a real actor, with screen presence. But after the precise timing and intelligence he brought to "The Social Network," it's a little disappointing to find him in a role that requires less. He has a future in the movies.

She's So Lovely does not depict choices most audiences will condone, or even understand, but the film is not boring, and has the dread hypnotic appeal of a slowly developing traffic accident (in which we think there will probably be no fatalities).

Concussion is a good movie that could have been great without trying so hard to be great.

At a time when so many American movies keep dialogue at a minimum so they can play better overseas, what a delight to listen to smart people whose conversation is like a kind of comic music.

An effective entertainment, and Jennifer Lawrence is strong and convincing in the central role. But the film leapfrogs obvious questions in its path, and avoids the opportunities sci-fi provides for social criticism.

Christine is, of course, utterly ridiculous. But I enjoyed it anyway. The movies have a love affair with cars, and at some dumb elemental level we enjoy seeing chases and crashes. In fact, under the right circumstances there is nothing quite so exhilarating as seeing a car crushed, and one of the best scenes in Christine is the one where the car forces itself into an alley that's too narrow for it.

The Longest Yard more or less achieves what most of the people attending it will expect. Most of its audiences will be satisfied enough when they leave the theater, although few will feel compelled to rent it on video to share with their friends. So, yes, it's a fair example of what it is.

It goes without saying it's preposterous. But it has the texture and takes the care to be a full-blown film.

The filmmaking is sure-handed, the performances authentic.

Salvador is a movie about real events as seen through the eyes of characters who have set themselves adrift from reality. That's what makes it so interesting.

The movie never quite attains altitude. It has a great takeoff, levels nicely, and then seems to land on autopilot. Maybe it's the problem of resolving so much plot in a finite length of time, but it seems a little too facile toward the end.

Impressive, although not quite the film it could have been. It asks few hard questions.

A contagious enthusiasm runs through the heart of Jon Angio’s Revenge of the Mekons, a documentary that celebrates and explores the evolving ethos of the seminal British punk band The Mekons while also proving that some of rock’s most interesting stories come not from success but survival.

A well-assembled chase movie--a thriller, with a few existential notes left over from Robert Stone's Dog Soldiers the novel the movie's based on.

Glass Onion doesn’t have quite the zest and freshness of the original, and there are times when it’s a little too self-pleased with the social commentary and the meta references, but thanks to Johnson’s crackling good dialogue, the impressive production design and the sparkling performances from Craig and a whole new cast of possible suspects and/or murder victims, this is a whip-smart, consistently funny and sure to be crowd-pleasing affair.

I’m not sure there’s ever been a film with more callbacks, more surprise cameos, more inside-showbiz references — even a couple of jokes about the personal lives of certain participants. It’s all great fun, and it’s just enough to overcome the uninspired direction, mid-level special effects and hit-and-miss humor.

It is goofier than hell - you can't stop watching because nobody in the audience, and possibly nobody on the screen, has any idea what's going to happen next.

Most of the time, though, Anchorman works, and a lot of the time it's very funny.

American Reunion has a sense of deja vu, but it still delivers a lot of nice laughs.

At the end, I was expecting more of an emotional payoff; making a movie calm is one thing, and making it matter-of-fact is another. But make a note about Will Ferrell. There is depth there.

What is the use of a film like this? It inspires reflection... Mike Leigh's films realize that for most people, most days, life consists of the routine of earning a living, broken by fleeting thoughts of where our efforts will someday take us--financially, romantically, spiritually or even geographically. We never arrive in most of those places, but the mental images are what keep us trying.

What sets Prefontaine aside from most sports movies is that it's not about winning the big race. It's about the life of a runner.

The War Wagon is that comparative rarity, a Western filmed with quiet good humor.

The running time for the doc is a robust 2 hours and 27 minutes, but hey, the 73-year-old Van Zandt has lived too much life for it to be encapsulated in a zippy hour or so.

Saylor has created a character who will haunt you for some time after you leave the theater.

The movie crosses two formulas -- Fish Out of Water and Coming of Age -- fairly effectively. Because it isn't wall-to-wall action but actually bothers to develop its characters and take an interest in them, it was not at first considered commercial by its distributor, New Line, and languished on the shelf for two years.

American teenage movies tidy things up by pairing off the right couples at the end. In Europe they know that summers end and life goes on.

Likely to entertain kids, who seem to like jokes about anatomical plumbing. For adults, there is the exuberance of the animation and the energy of the whole movie, which is just plain clever.