It's all just too cute for words, and more's the pity. Because in the end, No Strings Attached is more meaningful for what it does rather than for what it says along the way.

This is a household in which the rules are very formal, and they're matched by the formality of the filmmaking.

Weir's artisan's sureness grants a bewitching calm - his trademark ambience - to this harrowing tale.

It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.

An adaptation that wholly and faithfully captures the spirit and mood of the book it's based on, and an example of computer animation - the 2-D sort - that shows the human touch in every frame.

The Dilemma is bad in a way that seems to parody all the ways in which a film like, say, "The 40-Year-Old Virgin" was good.

Disappointingly ordinary film.

While this latest Rogen-penned iteration is a game try, it feels a bit like he's trying to make a volume out of a footnote.

Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.

Country Strong rides pretty high in the saddle, confident in the remarkably realized world Feste has created for her characters.

The faces of these performers - particularly Williams' - are the key to Blue Valentine.

Nothing says "Awards Season" like feel-bad cinema, and with Biutiful, Iñárritu hauls out the big guns. He also, maddeningly, has one hell of a weapon in his star, Javier Bardem.

It's as subversive and penetrating a treatment of the British character as we get on the big screen, and it's why I don't mind that Leigh keeps them coming 'round with the reliability of the cocktail hour.

It's all sweet and very, very silly. I was surprised by the subtleties - both comedic and thematic.

Mattie is a no-nonsense mite with a forthright manner and a mean head for figures; she wears her hair in two sturdy braids whose tips have never seen the inside of any inkwell, believe you me.

Coppola is a filmmaker who fills up a big canvas with small moments: That's the opposite of working in miniature, even though she's attuned to the tiniest details.

The animation itself is technically gorgeous, a class act all the way. But there's so little to be found in the faces of the characters, or even in the way their limbs move (much of it adopted, cleverly enough, from Tati's own physical style), that it's not clear what we're supposed to feel for them.

This latest is grim stuff: Little Fockers hardly bothers with finding a reason to exist, although one might assume a focus on the abiding hilarity of life with small children. That assumption would be wrong.

An ungodly mess that's great fun to look at for about 15 minutes and exhausting the rest of the time.

Hickenlooper too often approaches his subject with the filmmaking equivalent of a wry chuckle.

Tries too hard and ultimately achieves less. It's undone by its own inferiority complex.

On the whole the film is not much fun to watch. A job is a job, though; Yogi Bear did little to make it more than that.

Director John Cameron Mitchell - adapting David Lindsay-Abaire's play - has a surprisingly deft touch with this admittedly downbeat material; he builds dramatic intensity in subtle layers, rather than slapping it on with a trowel.

There are a couple of scenes of pure, sentimental genius, as well as appealingly boggled turns by Rudd and Wilson.

A massive wedgie of a comedy, which is to say it's a comedy of extreme discomfort.

Timoner attempts - with talking heads, travelogues, and a little alarmist flair of her own - to articulate Lomborg's central idea that not doing enough good might be the same as doing harm.

The thrill of Tony Scott's Unstoppable, in which a runaway freight train hurtles through rural - and toward not-so-rural - Pennsylvania, is that its setup asks us to believe only in human ineptitude.

The original "Saw" was smart enough to tease its audience, to literally restrain its characters and gradually dial up the dread, setting the table for a truly shocking twist. The latest just wants bigger and bigger bangs.