Fast and funny, and grown-ups will not suffer sitting through it.

An annoying, tedious little film.

Basterds isn't so revolutionary or so finely crafted as "Pulp Fiction" was, but it crackles with the same energy and imagination and chutzpah.

This is a slight and unessential picture, but its quirky, compassionate tone seems destined to attract a cult following, and members of high-school drama clubs everywhere will be riveted.

My One and Only isn't exactly memorable, but this little, personable movie is a fine showcase for Zellweger's talents and a paean to the sort of mid-1950s America best remembered in Norman Rockwell paintings.

A shrill and gaudy comedy about the quest for celebrity.

Attention all geeks (and geeks at heart): Get ready for two hours of serious awesome.

Even by Miyazaki standards, Ponyo makes less narrative sense than it should, and the pat ending is a bit of a letdown.

The movie is slightly more sappy, and the characters are necessarily less fleshed out than they are in Audrey Niffenegger's dazzling novel, but neither shortcoming detracts from the film's appeal.

How can a movie as overstuffed with funny people as The Goods: Live Hard, Sell Hard be so listless and leaden?

The best parts of It Might Get Loud, though, occur when Guggenheim visits with the musicians one on one.

The performances in Bandslam are uniformly strong -- good enough to make you wish this bunch of charismatic, talented kids had been given better material.

More toy commercial than movie.

The movie could have used a few more scenes focusing on Child at work in the kitchen -- a few more scenes with Child doing anything, really.

For a low-brow, psycho-on-the-loose-in-paradise thriller, A Perfect Getaway is surprisingly entertaining.

The movie's power sneaks up on you, reminiscent of something screenwriter I.A.L. Diamond once famously described as "the Billy Wilder touch": A combination of the sweet and the sour, because even funny people, like you and I, aren't always being funny.

The most horrific -- and heartbreaking -- scene of any movie thus far this year comes at the climax of The Cove.

Lorna's Silence doesn't work, but it's a beautiful misfire.

The most daring thing about Adam, the story of a young man with Asperger's syndrome, is that there isn't a scene in which someone stops to explain exactly what Asperger's IS.

The Ugly Truth is insulting to women, men and even goldfish.

The movie is absolutely hilarious, a satire as brisk and fleet as a farce and as profane as a convention of Tony Montana impersonators.

The more Shrink tries to get you invested in the emotional turmoil of its characters, the more you want to reach into the screen and shake them and tell them to get over themselves.

This is a romantic comedy that makes the concept of romantic comedies appealing again -- that reminds you how resonant and transporting they can be when they're done right.

Half-Blood Prince is the franchise's “Empire Strikes Back” -- the episode in which the pace slows down a bit, the characters deepen and mature, the good guys take a big hit, and all hell is gearing up to break loose.

The problem with I Love You, Beth Cooper is that aside from Denis' speech at the start, everything else seems familiar.

The real genius, if that is what it is, behind Sacha Baron Cohen's crude, shocking and explosively funny Brüno is the fact that the filmmakers actually found enough gullible human targets.

Humpday sells its admittedly far-fetched premise by illustrating how men often can't help but behave like stubborn children in the company of their friends -- even when the stakes are raised to ridiculous levels.

There is no faulting the big set pieces, which are shot and edited skillfully. But without involving characters to go along with them, those sequences make for awfully empty movie calories.