It's a fun one to talk about -- if only for the opportunity to shake your head in amused disbelief at what you just saw.

So what is Bridesmaids? A boozy wedding comedy? A touching character story? A paean to friendship? At turns, it's each -- making it a wedding movie with a commitment problem and giving Feig's scattered film a rudderless quality between the laugh lines.

These characters are so likeable, and so well-portrayed, that it's easy to go along with it all.

It is fluffy, yes, but it also is ugly and annoying and something you neither want nor need.

An unapologetic B-movie, Dylan Dog: Dead of Night tries mightily to cover its flaws with a peppering of humor -- much of it supplied courtesy of Dylan's zombie sidekick, played by Sam Huntington -- and an at-times fun "Buffy the Vampire Hunter" vibe.

It is a thoughtful film, a serious one, and one that is sneakily affecting.

Red Riding Hood needs a better agent.

A predictable but painless pastiche of high school drama clichés that will give its intended tween audience a lot to squeal about -- and leave their parents reminiscing quietly about how good films from '80s icon John Hughes were.

It's a film for patient moviegoers. But for those moviegoers, it stands to be a rewarding experience.

Despite the derivative nature and low production values of Super, there are laughs in the at-times ragged script.

Potiche never becomes funny enough or interesting enough.

If you're a mom or dad bringing your own little primates to the movie, that's a good thing.

McNamara's relentlessly shiny, happy outlook crosses the line between believable and artificial by about the 10-minute mark.

A textbook example of ye olde two-joke movie.

The kind of indie gem that doesn't come around nearly often enough -- and, when they do, often not enough people go to see them.

There are moments when the freak-show elements of the film threaten to overpower its message, but that message is such a fascinating one -- and the debate an important one as well -- that The Elephant in the Living Room manages to overcome them.

It feels more like a poor man's "Poltergeist, " minus the static-filled TV.

Complemented by striking, well-conceived visuals, in Fukunaga's hands Bronte's tale of love and woe becomes one well worth repeating.

A slick and sweet film all on its own, a harmless bit of fun that fills the Easter-movie void.

Burger's film would have been better had he ended it about three minutes earlier than he does -- a move that would have given his movie at least a dash of profundity.

The film -- lame of title but big on fun.

This is a film custom-made for dog lovers.

It's a decent comedy, mind you, one with its fair share of chuckles. But it's really more amusing than it is fall-out-of-your-seat funny.

Not the deepest stuff, but thought-provoking all the same -- and entertaining to boot.

The school freak, played by Mary-Kate Olsen, misses a chance to really have some fun as this story's wicked witch.

A movie that wears its heart on its sleeve.

A beautifully uncomplicated story, really -- about the love between daddies and their little girls.

Slowly becomes a thoughtful and interesting deconstruction and demythologizing of American celebrity.