Moon is one of those rare gems of the sci-fi genre that takes its acting as seriously as it treats its special effects.

It doesn't disappoint. It gets the job done thanks in large part to the breakout performance given by Galifianakis. It's no "Old School," but it will do nicely until that film's anticipated sequel rolls around in 2011.

The odyssey that follows reminded me of the one Bill Murray’s character took in "Broken Flowers" - and I mean that in the most complimentary way.

Summertime junk food.

Downloading Nancy is an excruciating experience.

Yolande Moreau's most impressive costars are the extraordinary compositions of Seraphine Louis.

Although the film is handsomely filmed and features a surprisingly frank view of the political machinations within the upper ranks of Tibetan Buddhism – even the Dalai Lama comes across as a bit of a wheeler-dealer – Unmistaken Child is more than a little disappointing.

After a strong takeoff, the film lands on dead grounds.

With brother Ivan as his co-writer, Sam tosses out a delightful batch of tense, hilarious set pieces. The two are giggling behind the proceeds like the Coen brothers scripting fresh off a critical triumph.

On its own terms, Departures is a thing of rare and remarkable beauty.

We witness many of Stephenson's inspirational moments during class, but miles more exist behind her students' skills and execution.

Even by Hollywood sequel standards, this is lazily conceived, cynically recycled stuff.

Her beauty, independence, and stock portfolio notwithstanding, Chelsea’s tale is a timely, tragic one told with typical Soderbergh finesse, a sly, sleek merger of sex, lies and hi def video.

It is occasionally a first-rate action spectacle, but it is only the spectacle that merits recommendation.

One of the more cheerfully dumb thrillers I've seen in a good long while.

A little bit of screwball comedy and a lot of film noir, add a dash of suspense-drama, and half a dozen card tricks too, then you have the recipe for making The Brothers Bloom.

Awfully funny, with surprisingly potent social commentary just underneath the quirkiness.

The average viewer will be satisfied with the product, even if the film offers hardly any new information. The doc buff will witness a film that can't surface above the steady nonfiction output at the art house.

What Cuarón and friends have done is made a cute genre film. What's the harm in that? I’m sure Bernal will be back to his edgy roots soon enough.

Star Trek is pretty damn enjoyable. By resetting the franchise to what is essentially Year One, Abrams has the luxury of...gently reshaping the core characters.

Likely to exceed expectations.

From the film's opening moments you won't be able to guess where the whole thing ultimately ends up and that's one of the many endearing qualities of Revanche.

Every so often you catch glimpses of a better movie behind the simplistic structure and formulaic plot.

This is one of those "Crash"-style pictures with interwoven narrative strands. The problem here is that most of the strands wind up little more than loose ends.

For the most part, Fleck doesn't seem particularly intrigued on finding the banjo’s African heritage – the film offers little in the way of historic value in understanding the origin of the instrument.

If you’re not really interested in Mike Tyson as a boxer and a person, the film doesn't give you much to go on. This is a movie called Tyson and it is about Mike Tyson – and nothing else.

It is a refreshingly traditional star-driven thriller.

Every bit enjoyable as that famed mockumentary.