The film has all the incessant showiness that can make Greenaway irksome: split screens, CGI, deliberately alienating performances. But the man loves a beautiful shot and a witty line; those are the things that carry the film.

Bland, occasionally funny.

An odd, unexpectedly interesting little movie.

Fascinatingly, many of the interviewees disagree vehemently about Holmes' personality: some of his co-stars and colleagues found him repellently abusive and selfish.

Scott and Balinska are capable, but bland. The actress who gets most in the oversize spirit of the occasion is Stewart, showing more personality and comic chops than she has before.

As for Baron Cohen, he's a great comic but his acting can still use work - most of his funniest lines appear to have been dubbed over other actors' reaction shots in post-production.

While the Kassen brothers do an impressive job for newcomers -- the film looks great and performances are uniformly solid -- there's some overly blunt dialogue and dead-end subplots that would have been pruned by more experienced filmmakers.

It's not to say that the adolescent humor isn't funny; some of it is hilarious. It's just that this movie lacks the overarching comic sensibility that made "Mary" and even Adam Sandler comedies like "Happy Gilmore" and "The Waterboy" so satisfying.

Cusack shows that he can still play the sensitive-but-fun guy until the ladies sigh and the men take notes.

Lightweight but enjoyable entertainment.

But given the potentially gripping subject matter, the film is fatally underedited: Every scene feels too long.

A tightly drawn, propulsive thriller with some pleasingly unexpected kinks in the tale and a couple of believable performances from Charlize Theron and Kevin Bacon in the leads.

When it was first performed in theaters a couple of years after the L.A. riots took place, Twilight: Los Angeles must have been very powerful. Unfortunately, director Mark Levin's filmed version lacks that impact.

Green rules the picture with her nutty stare and her willingness to get nasty in a hot sex scene, but the movie’s main weak point is the Greek general Themistokles.

Charmingly profane, with a buzzing riot-grrrl soundtrack, “Izzy” is a stylish twist on an ’80s trope: Here it’s the woman as pathetic supplicant, trying to win back someone who’s moved on.

A slickly entertaining war movie that's sometimes striking, sometimes silly -- but never, ever boring.

So, should you see The Intruder? Yes -- but only if you're willing to ignore bothersome concerns about narrative and let the poetic images take over your mind.

Stoned carries a freaked-out buzz of nostalgia for the era when celebs willfully destroyed themselves for our amusement.

Unfortunately, you really only hear about prostitution from the side of the pimp.

The studio’s latest likable musical is nicely animated, has nice characters and a few nice songs. At risk of repeating myself: It’s nice.

As frightening as it intends to be, but not enjoyably so.

Strange and quirky.

The Hunger Games may be derivative, but it is engrossing and at times exciting. Implicitly, it argues that "The Truman Show" might have been improved by Ed Harris lobbing fireballs at Jim Carrey, and it's now clear what "American Idol" was missing all those years: a crossbow for Simon Cowell.

The actors bring emotional authenticity to the aftermath of trauma, but despite that and the handsome cinematography, there is also a persistent phoniness.

It's shocking only in its banality, impotence and utter lack of heat.

Life, Animated oversimplifies the situation, contriving to use endless clips from Disney movies to make a case that movie magic really can better people’s lives. Unfortunately, by the end of the movie it’s clear that Disney can’t help Owen negotiate sex, breakups or many other challenges he faces as an adult.

The film accurately reminds you, if you need reminding, what it's like to have your mind hijacked by somebody's body.

A chilling pulp movie told with a pavement-eye view of the dregs of humanity.