Seems more like a merchandising ploy than a successful attempt to entertain kids and their parents.

Wilson doesn’t have the emotional heft, or the narrative arc, of Johnson’s last film, but it does remind you how much fun it is to watch Harrelson. In real life, Wilson would just be a straight-up a - - hole.

The plot is thin as consomme, and the thudding score is distracting, but the heartfelt storytelling and Michael Bertl's disarming cinematography make this a food film to savor.

When the Powerpuff Girls blink those soulful dinner-plate peepers, you could forgive them anything - even their movie's wafer-thin excuse for a plot.

Fairly entertaining, if hardly surprising, results.

Doremus can’t quite make the emotional breakthroughs rewarding enough to justify the slow buildup, but the icy beauty of the film makes it worth watching.

Aaliyah rules as the undead Queen of the Damned, even if she has scarcely half an hour of screen time in this campy Anne Rice vampire tale.

With action aplenty, talking animals and enough gags to make any sane grown-up groan, "The Revenge of Kitty Galore" is a harmless but fun hot-weather diversion for the family.

The Upside has a downside: We’ve seen it a million times before.

Except for the rock soundtrack, these movies could be silent - and probably should be.

The screenplay also fails to put the unconventional relationship into context. It never lets on that Andrea helped Duras produce some of her best work, including the autobiographical "The Lovers."

Shamelessly derivative, contrived and predictable, The Proposal is nonetheless a crowd-pleasing romantic comedy.

Thanks to Hudson and the other women, it's a moderately beguiling date movie.

I'd guess Turtle: The Incredible Journey will appeal most to kids, though they will have to wrestle with 3-D glasses.

There's some lumpy writing and uneasy acting, but it's easy to see why this charming, inventive film won prizes at festivals in Berlin, San Francisco and Newport, R.I.

I liked that The Wolverine (which saves a nifty twist for a surprise scene in the middle of the end credits) turns down the volume on the usual din of colliding mutant superpowers.

On the plus side, Definitely, Maybe has an appealing cast, some amusing scenes and at least tries to do something different.

Has moments that are eerily beautiful and genuinely moving -- and some that are surprisingly vulgar.

At heart a rather chilly and clinical portrait of four very selfish people.

Saint Laurent was known for an almost monk-like focus on his work. And so this film springs to life — the actors, the camera, the editing — when we see his creations the way they were meant to be seen: in motion, and worn by beautiful women.

CSA would have benefited from a bigger budget and better actors and it gets weaker as it goes along, but it's still thought-provoking stuff.

Much has, and will, be made of the grisly scenes throughout the film.

Mostly, this frantic film is yet another attempt at “Spinal Tap” silly. At times it goes for the heart of “Almost Famous,” and its sense of rock is that of a barely acquainted observer.

Walking a tightrope between high farce and emotional truth, writer-director Gabriele Muccino's breathlessly paced Italian comedy The Last Kiss manages to stay just this side of melodrama.

Fun but somewhat exhausting.

The biographical bits soon feel like a distraction from the music, performed by Gavilán. It’s heard often, but not often enough. Judging by the movie, Parra’s songs are fiery and haunting, sometimes sensuous, sometimes bleak. When Parra sings, the movie becomes worthwhile.

Swank's character, Erin Gruwell, is a real educator who, in the years following the Rodney King riots, coaxed her students into writing about their bullet-riddled lives.

The concert footage is stirring, the recording sessions are intriguing, and -- on the way to striking a blow for artistic integrity -- this quality band may pick up new admirers.