Frothy as it is, SATC2 is best when it's about the women, not the wardrobe.

For this last chapter, the filmmakers play things relatively straight, resulting in the best Shrek movie to date.

Certainly a grand-looking picture. For a film that's filled with CGI effects, there wasn't a single shot that looked artificial, and the production design is tremendous. But it's a hollow, boring spectacle.

Letters to Juliet will never be mistaken for an epic romance -- too light, too silly, too mistake-prone -- but the ingredients of its tasty chick-flick stew are tried and true.

If you can overlook that last little bit of sports fantasy, you just might like Just Wright.

The main problem with Iron Man 2 lies in the script.

Sweet, amusing little film.

The amount of information the viewer is asked to process is voluminous and never stops coming.

Mother and Child is good when it takes a harsh, unsparing look at lament and the burdens we carry throughout our lives. Then it goes for your tear ducts, and we're suddenly stranded in Lifetime TV territory.

Freddy simply isn't as scary as he used to be, even though Jackie Earle Haley, taking over from Robert Englund in the role, plays Krueger essentially straight, keeping the one-liners to a minimum.

A mean and exceedingly well-made little B-picture, but the questions it raises are far too complex to answer with a simple gunshot.

The cast is uniformly spectacular, infusing the characters with nuance and complexity.

The Back-up Plan is about as much fun as 36 hours of labor, only you don't get to go home with a baby at the end. Instead, you leave with a throbbing headache and a lot of questions about why anybody still thinks Jennifer Lopez can anchor a movie.

Kick-Ass reminds you of the great pleasures and thrills of superhero comics -- then turns everything you ever learned from comic books upside down.

What makes Exit Through the Gift Shop so fascinating -- and it is riveting, regardless of your interest in the art world -- is the eloquent way in which it illustrates how beauty and meaning really are in the eye of the beholder and how that eternal phrase still holds true: There's a sucker born every minute.

Handsome Harry has some shakily staged scenes and erratic acting, but it also has wonderful moments.

Though it's entertaining when the tone is light, The Joneses can't quite keep up with this sort of complexity.

Unfortunately, Ghobadi doesn't trust his film to convey the message that has already been clearly and entertainingly spelled out, and No One Knows About Persian Cats ends on a sudden note of tragedy that almost ruins the exuberant spirit of everything that has preceded it.

Although it is structured like a thriller, and its plot dominated by Benjamin's detective work, The Secret in Their Eyes is really a cautionary tale about the consequences of a life of too much apprehension and propriety.

Once the guns come out, and the car crashes begin, Date Night loses the funny.

A movie as annoying as its oddly punctuated title, After.Life is a misguided and empty-headed attempt at psychological horror that succeeds only at talking the viewer to death.

This lavish, spectacular reworking of director Desmond Davis' beloved 1981 original is the rare sort of remake that actually makes sense: With all due respect (and copious apologies) to the generation that grew up with the first film, Clash of the Titans just wasn't very good.

The Last Song, yet another maudlin remake of a Nicholas Sparks bestseller.

Cannot sustain the level of comic insanity the filmmakers hoped for -- no movie could -- although it's bound to play much better on late-night cable TV, especially when accompanied by a few beers and the occasional bong hit.

Doesn't have the depth and resonance of a classic, but the picture's modesty is refreshing, and its artistry is awe-inspiring.

Yes, it's every bit as brainless as the trailers suggest.

The sci-fi thriller Repo Men gets off to a sluggish start. But wait. You have to give the movie time to find its groove and establish its premise.

After starring in a string of heavy dramas, Andy Garcia lightens up and goes for the funny in City Island, a breezy comedy that fits the actor like a güayabera.