It's the sort of film that's entertaining while you're in the theater.

There's a startling moment 10 or 15 minutes into The Adjustment Bureau - the only time, really, when the film achieves any level of surprise. The dispiriting dullness of this dreary misfire hasn't had time to settle in and thicken: The movie hasn't yet revealed its utter and thorough ineptitude.

Beastly, for all its potential pitfalls, works better than it has any right to. Credit Barnz, who keeps his young characters contemporary in a world of text messaging and status updates and yet also gives them depth.

Canner is able to keep Orgasm Inc. trained on its eponymous theme with a brisk pace and precise detail that will be equally illuminating to men and women.

This excruciatingly dumb, formulaic picture, which somehow required the work of four screenwriters but contains not even one single, fleeting moment of wit or humor.

Unknown is never boring, and Collet-Serra mostly keeps up a lively pace, but he doesn't do the movie any favors with the flat, dull way he films the scene in which we finally learn what's going on.

Although the picture is nominally the story of a man with a murderous temper, it is less a thriller than a metaphor for the plight of illegal immigrants.

The movie's second half, which grows progressively sadder, also starts to feel a bit repetitive.

Aside from the thin characterizations, The Eagle never manages to convey the importance of the heroes' quest.

A beautifully illustrated love letter to dogs and the people who own them.

The bigger problem with the film, which is genuinely unnerving at times, is what happens when the cavers are not in immediate peril, because they talk.

A script that deftly fleshes out characters and mimics reality shockingly well.

Driver's over-the-top Jewish Canadian Princess performance is so stereotypical it's downright embarrassing in a film that otherwise treats its imperfect characters with respect even when they're at their worst.

The movie is unwieldy and overstuffed with subplots - and, at 2 1/2 hours, probably too much misery and sorrow for most viewers.

The Mechanic remains singularly uninvolving - a rote exercise in a genre with characters so familiar they barely register.

You watch it in stunned disbelief, wondering how a movie that started so strongly devolved into something so absurd.

Its stop-and-start feel keeps you from ever getting fully absorbed in the story.

This is an intentionally fanciful, gossamer movie, extremely personal and heartfelt, influenced in equal parts by Michelangelo Antonioni (although never so elusive) and Gus Van Sant (just not quite so self-conscious).

It makes the predictable journey surprisingly fun and enjoyable.

The film remains relatively entertaining, simply because the scenario hits so close to home, no matter where you work.

Gamely depicts an interesting bit of history, but its real message is a matter of principle.

In Country Strong, the Oscar-winning Paltrow gets upstaged and outacted by the kid from "Tron" and the snotty brat from "Gossip Girl." Who'd have thought?

Absorbing and hugely compelling, a thoughtful portrayal of the myriad ways in which we learn to deal with the unthinkable.

There isn't a moment in the entire film that doesn't feel genuine.

A big, boisterous action-comedy - a funny, exciting and intentionally goofy summer movie that just happens to arrive in the middle of January.

This is more of a poignant, haunting study of well-intentioned but doomed folly, embodied by a heroine whose bravery renders her blind to the world that is crumbling around her.

Casino Jack fails at its most critical mission: Laying out in clear detail exactly how and when Abramoff broke the law.

This is a comedy about imbeciles who fall blindly in love with a concept, without giving any thought to what they are doing. And although some of them eventually have a moment of self-realization, it arrives, sadly, much too late.