If I hadn't seen the original, I might have gone ga-ga over Reeves' version. But even with the shock of novelty gone, the film still draws you into its chilly, demonic heart.

A brisk and lively cinematic Cliff's Notes of the 2005 nonfiction bestseller that made the lofty promise to reveal "the hidden side of everything."

The movie, elegantly shot by Rodrigo Prieto, is sleek and brisk, using split-screens and graphics to help uninformed viewers grasp the basics of the corporate shenanigans the characters pull on each other.

You Again is at its funniest in the early scenes, when everyone is pretending all is well beneath forced smiles and plotting eyes.

This is a movie best seen cold.

The most suspenseful sequence of any movie I've seen this year comes near the end of Waiting for Superman.

The talented cast fails to gel into a dynamic ensemble.

Affleck's smooth, elegant directorial style is strong reminiscent of Clint Eastwood's: He takes his time establishing characters who are far more complex than they initially appear, then thrusts them into moral dilemmas with no easy outs.

Easy A is unnecessarily hard on the religious kids. Unlike "Saved," it uses broad caricatures of gospel-singing fanatics to get laughs, and the bug-eyed, over-the-top performance by Bynes (who apparently really should have retired after making this film) doesn't help matters.

There are no "Crying Game" switcharoos or "Sixth Sense" plot twists in store here. But knowing too much about Catfish beforehand ruins the experience.

The film is sad in a beautiful, peaceful manner, and its exploration of mortality is different from most others, since the three central protagonists are all barely in their 30s.

Regardless of its veracity, this portrait of a drug-addled star who just wants to express himself artistically contains implications that exceed the filmmakers' intentions.

A by-the-numbers sports drama with a death grip on clichés and acting every bit as flat as the mat, seems unlikely to draw much of a crowd.

The result is far funnier and much less annoying than you might expect.

The movie is bouncy and zesty, its energy unflagging, and some of the big numbers are heavily tinged with Bollywood. Conceptually, it should have been a trip.

You never really get the sense Zhang is taking the movie seriously, so you can't either. A Woman, a Gun and a Noodle Shop proves that American filmmakers aren't the only ones who can bungle remakes of foreign movies.

Cassel, who won a Cesar (France's equivalent to the Oscar) for his performance, invests the character with a grounding of humanity and honor that imply there are certain lines even Mesrine would never cross.

Corbijn makes the familiar strange, focusing on details other filmmakers would gloss over.

The more hellish the story gets, the sillier and less involving the movie becomes.

A crackling crime drama assembled from a scrap heap of hoary cliches, Takers proves that everything old can sometimes really be new again.

You have to overlook a whole lot of guff in order to enjoy the slight but pleasurable entertainment of The Switch.

He just wasn't the sort of hero the government pretended he was. This eye-opening, inspiring movie is a permanent corrective to that deception.

The film is far from perfect, but it's likely to inspire more than few quests for balance -- or at least a fabulous bowl of linguine.

The result is initially exhilarating, ultimately exhausting.

Jason Statham gives the best performance. Dolph Lundgren gets the best character arc. Terry Crews gets the best gun. Jet Li gets the best kill (you'll know it when you see it).Arnold Schwarzenegger gets the best cameo. And Sylvester Stallone? He gets the blame.

As the character grows soft and sentimental, so does La Soga, and the film's edge is terminally dulled by an avalanche of cliches and schmaltz.

Animal Kingdom moves with a brisk efficiency - Michôd trusts the viewer and doesn't waste time with unnecessary back story - and the plot twists and turns at brutal speed.

So hilarious that even longtime Ferrell haters (me) can't resist it.