Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.

Unfortunately, Think Like a Man Too never takes the time to elevate any of those characters to beyond mere cardboard cutouts.

Here's the crazy thing, though. Against all odds, it works.

Even when it is at its most esoteric, The Dance of Reality is always brimming with passion and a daring originality. That helps smooth over the flaws, such as its general staginess and his self-indulgent tendencies.

This is a film your preschooler will sit through, and attentively. Better yet, parents who appreciate the artistry of a well-made animated film also stand to be swept up in what is a delightful little tale.

I wouldn't expect many people to remember Cold in July come September, when the movie-award season gets underway. But as a guilty-pleasure May release? You could do far worse.

Enchanting enough to cast a spell over fans, of Jolie, of Disney, of "Sleeping Beauty" -- and of pure, cinematic escapism.

This is a movie that -- in addition to being exceedingly well-cast and surprisingly well-shot -- is gleefully inappropriate and indulgently crass at every turn.

Still, it's all enjoyable enough, playing out like a cross between "Pride and Prejudice" and "Amistad" -- and a welcome change of pace for those trying to avoid the radioactive spiders and time-traveling mutants that have otherwise invaded the summer movie season.

Here's a film that feeds the heart and the soul.

The result is intense and powerful, a full-color portrait of the importance of never surrendering.

Most of all, though, there's the story itself, which was already pretty quirky -- and amazing -- even before Oscar-nominated screenwriter Thomas McCarthy ("Up") put pen to paper for director Craig Gillespe's film.

Songs such as "We Shall Overcome," "Wade in the Water" and "This Little Light of Mine" are powerful to begin with. Listening to them, music-video-style, over footage shot during the era, however, elevates them.

Wiig is so enjoyable to watch that it rescues Johnson's film. She's the best reason to see it.

A low-energy drama, but the kind that has a way of holding your attention -- and keeping you smiling -- for the entire time you're watching it, lifting your mood in the process.

Can it be considered a comic masterpiece on the same level as "Animal House," that mother of frat-house comedies? Not by a long shot.

Here is a film that not only entertains, but also educates and -- thanks to Jodo's deep confidence and energetic artistic optimism -- one that also inspires.

Even when it's at its best, Walk of Shame is rarely more than merely amusing. On the other hand, when it's at its worst, it's nothing short of insulting, thanks to its willingness to engage in the kind of gross stereotyping that treads uncomfortably close to racist territory.

One heck of a fun film -- and the most enjoyable and rewarding superhero movie I've seen in a while.

Nicole Kidman as wife Patti (shows nice, subtle touches in her limited time on-screen).

Khan in particularly is wonderful in Batra's film, which takes the time to indulge in quiet moments that Khan expertly fills with his expressive face and sense ease in front of a camera.

Under the Skin is, in short, a film that does just that: gets under one's skin, shining a light on what it means to be human -- even if what we end up seeing is something less than comforting.

A giddy blend of style and attitude that plays like a lightweight cross between a Guy Ritchie and Wes Anderson film.

There are lulls to be had here, but there is a smattering of laughs, too -- and some pretty good ones, at that. If, that is, you'll give yourself permission to laugh at Wayans and company's lowest-common-denominator antics.

Oculus is a time bomb of a psychological horror film.

This newer installment is every bit its predecessor's match as far as action goes. Where it exceeds it, however, is in the between-the-fights moments.

The problem is, Draft Day doesn't really capture that sense of urgency until late in the film.

Vol. 1 functions reasonably well as a standalone film in its own right, playing out like a dose of mass therapy, an interesting, Von Trier-led sexploration of humankind's conflicted approach to sex: We love it, but we also fear it and are often thoroughly ashamed of it.