This is a featherweight G-rated comedy of no consequence, except undoubtedly to kids about Ramona's age.

It's gloriously absurd. This movie has holes in it big enough to drive the whole movie through. The laws of physics seem to be suspended here the same way as in a Road Runner cartoon.

That's another thing about Carion's direction: He has an eye for unusual, atmospheric touches -- the kinds of striking little things you notice in the world and think: "Somebody should put that in a movie."

There's always rationing in wartime. What's rationed in Todd Solondz's Life During Wartime are feelings of hope, kindness and optimism.

Now here's this rich and textured film.

It seems to me that Campbell has a good case here--good enough, anyway, to convince the judges on the African court.

Inception does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does.

The Sorcerer's Apprentice is a perfectly typical example of its type, professionally made and competently acted.

The film is funny, energetic, teeth-gnashingly venomous and animated with an eye to exploiting the 3-D process with such sure-fire techniques as a visit to an amusement park. The sad thing, I am forced to report, is that the 3-D process produces a picture more dim than it should be.

The movie is mostly about our nasty heroes being attacked by terrifying antagonists in incomprehensible muddles of lightning-fast special effects. It lacks the quiet suspense of the first “Predator,” and please don't even mention the “Alien vs. Predator” pictures, which lacked the subtlety of “Mothra vs. Godzilla.”

Moore and Bening are superb actors here, evoking a marriage of more than 20 years, and all of its shadings and secrets, idealism and compromise.

The Girl Who Played With Fire is very good, but a step down from "The Girl With the Dragon Tattoo," if only because that film and its casting were so fresh and unexpected.

Although we find out a lot about this virtual hermit and develop an admiration for his cantankerous principles, the movie leaves some questions unanswered.

The Last Airbender is an agonizing experience in every category I can think of and others still waiting to be invented.

The movie contains violence and death, but not really very much. For most of its languorous running time, it listens to conversations between Bella and Edward, Bella and David, Edward and David, and Edward and Bella and David. This would play better if any of them were clever conversationalists, but their ideas are limited to simplistic renderings of their desires.

The script fails to persuade me this story needed to be told. It should have been trashier or more operatic, maybe. I dunno. It exists in that middle space of films that accurately reflect that which has little need to be reflected.

A pleasant, genial, good-hearted, sometimes icky comedy that's like spending a weekend with well-meaning people you don't want to see again any time real soon.

There is the sense they're fighting for each other more than for ideology.

Dogtooth is like a car crash. You cannot look away. The Greek director Yorgos Lanthimos tells his story with complete command of visuals and performances. His cinematography is like a series of family photographs of a family with something wrong with it.

The film is a visual pleasure, using elegant techniques that don't call flashy attention to themselves. The camera is intended to be as omniscient as the narrator, and can occupy the film's space as it pleases and move as it desires. Here is a young man's film made with a lifetime of experience.

Diaz has one of the most winning grins in the movies. Basically, what I wanted was more of it. Some of that Cary Grant dialog. More flirtation. More of a feeling the characters, not the production, were the foreground. More of the stars.

This is a jolly, slapstick comedy, lacking the almost eerie humanity that infused the earlier “Toy Story” sagas, and happier with action and jokes than with characters and emotions.

It's based on some DC Comics characters, which may explain the way the plot jumps around. We hear a lot about graphic novels, but this is more of a graphic anthology of strange occult ideas.

Here is a film that uses very good actors and gives them a lot of improvisational freedom to talk their way into, around and out of social discomfort. And it's not snarky. It doesn't mock these characters. It understand they have their difficulties and hopes they find a way to work things out.

An amazing film. It is deep, rich, human. It is not about rich and poor, but about old and new. It is about the ancient war between tradition and feeling.

The first shot tells us 45365 is the zip code of the town." In this achingly beautiful film, that zip code belongs to Sidney, Ohio, a handsome town of about 20,000 residents.

If you've seen “The Karate Kid” (1984), the memories will come back during this 2010 remake. That's a compliment.

Bored out of my mind during this spectacle, I found my attention wandering to the subject of physics.