There is considerable fun in discovering the hows and whys the crew of the U.S.S. Enterprise came together, and each member has at least one moment in the spotlight, including the esteemed helmsman Sulu.

Jackman's charisma breathes the fire into Wolverine, not the rather pedestrian script or the by-the-numbers action.

Here's what is bad: this movie.

Downey gives a nervy, riveting performance in The Soloist.

The movie humanizes Tyson and brings him down to the land of mortals, making his achievements loom larger. And if the boxer hasn't entirely made peace with his troubled soul, Tyson suggests the struggle is going his way.

Co-written by Tony Gilroy, who penned the tricky "Michael Clayton" and the even trickier "Duplicity," State of Play displays its savvy without being quite so showy.

Though there's nothing revolutionary about 17 Again, the movie is undeniably enjoyable.

Sensational documentary.

You don't need a Ouija board to suss out where all this is heading, but Is Anybody There? counteracts its deficiencies -- predictability, sentimentality -- with a healthy dose of dark humor.

Observe and Report conveys an essential truth about Rogen: Like every other actor on the planet, he needs good material to do good work.

A loud, dumb movie, but its male, car-obsessed audience will probably enjoy it anyway.

Mottola softens his approach, and Adventureland turns out to be more like "Nick and Nora's Infinite Playlist" than a Judd Apatow creation.

Hilarious and socially astute.

On the plus side, if you're flummoxed by the twisty plot or its occasional holes, you can always gaze contentedly at Clive Owen and be wholly entertained.

Among the invited guests are Sarah Jessica Parker and Julia Roberts. Only one fellow designer is present: Karl Lagerfeld, the German designer settled in Paris.

Its overall ability to balance humor and drama, attention to emotional detail and a few winning performances outweighs its maudlin tendencies.

Watchmen is a spectacularly violent movie.

Crossing Over is a result of the sledgehammer approach writer-director Wayne Kramer (Running Scared, The Cooler) takes to his subject matter -- the same heavy-handed tactics that earned "Crash" three Oscars.

A surprisingly straightforward romp in slasher-flick cliches, Friday the 13th is replete with gee-whiz gore, gratuitous sex and nudity and party-loving teens with a penchant for ending up on the wrong end of a pick ax.

Essentially a horror movie for kids, but it is also gentle and funny and whimsical, and even in its darkest moments, Selick never forgets who his target audience is. Still, some young children might have a nightmare or two after seeing it.

The fact that you won't remember any of these names for more than a minute should indicate exactly how much depth each character displays.

There are three or four big laughs scattered throughout The Pink Panther 2, along with a smattering of decent chuckles. But all those moments combined account for maybe five minutes of screen time, which leaves you with another hour and a half of movie to sit through.

A curiously inert and talky action picture about good-looking mutants on the run from bad (but equally good-looking) ones, Push wastes a decent idea and stylish direction on a script that's much more Ingmar Bergman than Stan Lee.

The comedy is slapstick, the colors Day Glo, the outcome inevitable.

An hour after seeing it, you may not remember what The International was about. But you'll certainly remember that shootout. That is something to behold.

The first Hollywood horror flick I've seen that seems like it was made specifically for 12-year-olds.

Taken is nonsense, but it's terrifically entertaining nonsense.

The ghastly first half of this romantic comedy -- is as close to unwatchable as any moment in "Bride Wars." The fact that it stars Renée Zellweger just makes it harder to bear.