For movie buffs, the only real fun to be had at Inception could be toting up the lifts from other movies, including Cocteau’s “Blood of a Poet” and “The Matrix” series and just about anything by Kubrick.

O'Neill and Curry, both heretofore nonactors, can't put across much more than a single emotion at a time, but their amateurishness isn't as annoying as it might have been in a movie with higher aspirations and artistry.

Cage is amusingly skanky, Molina is dependably arch, and Baruchel is engagingly down to earth. But do we really need to watch them play out this exhaustingly empty scenario?

Carrell has stated in interviews that his accent "falls someplace between Bela Lugosi and Ricardo Montalban," and that's about right.

What this film is really about is how interconnected we all are, like it or not, on the Internet, and how alluring and alarming this can be.

Positioned somewhere between sitcom and piercing human drama, The Kids Are All Right, is both overtly familiar and cutting edge.

Resembles nothing so much as a workmanlike TV crime thriller.

Movie actors are notoriously inarticulate about their craft, but what about movie directors? If the documentary Great Dir­ectors is any indication, the returns are a bit more promising.

The Last Airbender is like a Care Bears movie that got waylaid in the fourth dimension. It's insufferably silly.

“Twilight” is essentially an adolescent female fantasia about coming to terms with one’s sexuality. There I’ve said it. And I’m sure no one else has ever said it.

Maybe Hackford, and his screenwriter Mark Jacobson, were attempting to convey the dullness of vice. If so, they vastly overcorrected. But what about the dullness of the performances?

A movie that at best is irrelevant and at worst is unwatchable.

Because the war in Afghanistan is so much in the news now – it should always have been so – a movie like Restrepo is both a bracing document and, in a larger sense, a disappointment.

With all the money expended on this movie, couldn’t anybody come up with a few good lines in between all the kabooms?

Toy Story 3, has more emotional power than either of its predecessors. Come to think of it, it also has more emotional power than most of the live-action movies out there.

Actually, it's hard to have any thoughts while watching Jonah Hex – the cranium-crushing soundtrack takes care of that.

There's an original comic temperament at work here, and that's rare.

The Karate Kid will probably work best for young audiences unaware of its predecessor – or of much of anything else for that matter.

It probably won't matter to its core audience that The A-Team doesn't make a lick of sense.

The well-staged opening sequence, which depicts the riot at the 1913 Paris première of "Le Sacre du Printemps," is, alas, the film's high point.

Granik filmed in actual locations and enlisted many locals as actors. They blend unobtrusively with the professionals in the cast.

The film's biggest unexplored question: Why is someone with a reputation for laying bare the truth so addicted to plastic surgery?

This movie is a one-of-a-kind experience – blarney carried to rhapsodic heights.

Brand can seem simultaneously randy and strung-out and is often very funny. Hill is surprisingly touching.

Something is going on all the time, even if that something is oftentimes clumsy, nonsensical, or flat. But the sheer whoosh of the story line keeps you watching anyway.

The best part is that, amid all the hubbub, Jeunet, improbably and inevitably, draws out a love story between Bazil and Elastic Girl. Without it, Micmacs would have imploded. The romance, which is funny and sexy at the same time, anchors the shenanigans.

Altogether fascinating.

The Muslim women in “SATC2” are props in the froth. Come to think of it, so are Carrie, Charlotte, Samantha, and Miranda.