As it is, Illegal Tender works as a melodrama, and it benefits enormously from the performance of Wanda DeJesus.

The movie itself is sort of bland and obvious and comfortable.

Jackson disappears into his role, completely convincing, but then he usually is. What a fine actor. He avoids pitfalls like making Champ a maudlin tearjerker, looking for pity. He's realistic, even philosophical, about his life and what happened to him.

What a strange, confused, unpleasant movie this is. Two theories have clustered around it: (1) It is anti-Mormon propaganda to muddy the waters around the presidential campaign of Mitt Romney, or (2) it is not about Mormons at all, but an allegory about the 9/11/01 terrorists. Take your choice. The problem with allegories is that you can plug them in anywhere. No doubt the film would have great impact in Darfur.

The movie is part farce (unplanned entrances and exits), part slapstick (misbehavior of corpses) and part just plain wacky eccentricity. I think the ideal way to see it would be to gather your most dour and disapproving relatives and treat them to a night at the cinema.

The movie is astonishingly foul-mouthed, but in a fluent, confident way where the point isn't the dirty words, but the flow and rhythm, and the deep, sad yearning they represent.

This movie, for all its noble intentions, is a bore.

Here is a great story born to be creepy, and the movie churns through it like a road company production. If the first three movies served as parables for their times, this one keeps shooting off parable rockets that fizzle out.

A documentary that is beyond strange, follows two arch-enemies in their grim, long-term rivalry, which involves way more time than any human lifetime should devote to Donkey Kong.

This is the best DiCillo movie I've seen, and he's made some good ones ("Box of Moonlight," "The Real Blonde").

A smart film with an edge to it.

I suspect a lot of high school students will recognize elements of real life in the movie, and that the movie will build a following. It may gross as little as "Welcome to the Dollhouse" or as much as "Clueless," but whichever it does, it's in the same league.

Once you realize it's only going to be so good, you settle back and enjoy that modest degree of goodness, which is at least not badness, and besides, if you're watching Rush Hour 3, you obviously didn't have anything better to do, anyway.

It's a film you enjoy in pieces, but the jigsaw never gets solved.

The way all of this plays out is acted warmly by the principals, and Eigil Bryld's photography (of Ireland) makes England look breathtakingly green and inviting. The director, Julian Jarrold ("Kinky Boots" and the TV version of "White Teeth") is comfortable with the material, and it is comfortable with him.

The film contains a surprising amount of understated humor. It is not a grim portrayal of a harsh upbringing, but an affectionate portrait of parents who will be able to change the world before they will be able to change their daughter.

You sit there, and the action assaults you, and using words to re-create it would be futile. What actually happens to Jason Bourne is essentially immaterial. What matters is that SOMETHING must happen, so he can run away from it or toward it.

If you're a fan of Hector Lavoe and Latin music, or Lopez and Anthony, you'll want to see El Cantante for what's good in it. Otherwise, you may be disappointed. The director (Leon Ichaso) and his co-writers haven't licked a crucial question: Why do we need to see this movie and not just listen to the music?

Rod is played by Andy Samberg from "Saturday Night Live," who on the basis of this film, I think, could become a very big star.

Who is Charles Ferguson, director of this film? A one-time senior fellow of the Brookings Institute, software millionaire, originally a supporter of the war, visiting professor at MIT and Berkeley, he was trustworthy enough to inspire confidences from former top officials.

The movie is focused on two kinds of chemistry: of the kitchen, and of the heart. The kitchen works better.

The movie is funny, sassy and intelligent in that moronic Simpsons' way.

The movie is taut, tense, relentless. It shows why Shaun feels he needs to belong to a gang, what he gets out of it and how it goes wrong.

In the end, I'm conflicted about the film. As an accessible family film, it delivers the goods. But it lives in the shadow of "March of the Penguins." Despite its sad scenes, it sentimentalizes.

The movie is lightweight, as it should be.

Goya's Ghosts is like the sketchbook Goya might have made with a camera.

Just plain fun. Or maybe not so plain. There's a lot of craft and slyness lurking beneath the circa-1960s goofiness.

Science-fiction fans will like it, and also brainiacs, and those who sometimes look at the sky and think, man, there's a lot going on up there, and we can't even define precisely what a soliton is.