Too bad the script is predictable at every turn.

A heartwarming family fable that parents and kids can enjoy.

Both characters are riveting, and they even manage to earn most of the freight that Donovan loads onto his heavily ironic title.

The opening montage raises expectations of a serious, politically incisive depiction of the region. What we actually get is an offensively pandering, Bruckheimer-esque riff on the real-life Khobar Towers bombing of 1996, a Saudi Hezbollah attack that killed 19 Americans.

Sometimes it’s refreshing when a movie is just an improper noun that delivers what it promises.

Sounds like a great idea for a gay porno, but the soapy Save Me actually takes itself seriously.

On this overstuffed ride, we also learn where wise Rafiki, royal aide Zazu, evil Scar and even Pride Rock come from. Who cares? The backstories only make us crave the peerless 2D original.

While a tad too light, as these films often are, nobody is making animated characters as funny or likable (or marketable) as the Minions.

Phoenix gives an electric performance as amoral Army supply clerk Ray Elwood.

Perfume: The Story of a Murderer, crosses over from thriller into magic realism for a lavishly staged climax that's a bit much.

Fresh, fast and funny movie.

Lizzie McGuire's "Movie" doesn't try to be anything more than a superficial escapist fantasy for fans of the show.

The result is anti-Army propaganda rather than a balanced piece of reporting.

It all leads nowhere. There are pull-the-rug-out endings, and then there are pull-the-floor-out endings. The Escapist leaves you standing on nothing, like Wile E. Coyote, wondering why you bothered to come this far.

The plot isn't a new one (remember Lady Chatterley?), but Corsini gives it a few twists and turns that keep matters fresh and suspenseful.

G.B.F., which concludes with a clumsy parody of the prom climax from “Carrie,’’ offers an admirable message of tolerance for teen audiences — too bad it’s been absurdly saddled with an R rating, even though there’s far less innuendo than in “Easy A.’’

Aside from a jarringly fake computer-generated avalanche scene that momentarily challenges the necessary suspension of disbelief, the big-bang set pieces are superbly crafted.

Feels like an homage to the early work of Wes Anderson with its plinky soundtrack, solipsistic banter and emphasis on uniforms.

Has some terrific aerial sequences and exciting dogfights. But the clichés in the script by Zdenek Sverak (the director's father) keep the film firmly grounded when the action's not aloft.

Their conversation is so insipid that watching this movie is no more interesting than talking to any random New York couple about what makes them tick.

Doreen's scenes are meant to highlight the cost to the people surrounding Eddie. But the many efforts to link his psyche to his war experiences never gel, and Eddie remains a wraith, his real emotions as pallid as the film's colors.

Poehler isn’t quite cynical enough to pull off a comedy in which, to paraphrase “Seinfeld,” there’s no hugging and learning, but Wine Country could have been improved by keeping its emotional scenes more in reserve — like a high-end cabernet.

It's the chemistry between the Arquettes (they met on the first film and married after the second) and their rapport with Campbell that sustains Scream 3 through its overly convoluted plot.

A laugh-filled comedy that might be described as "The Full Monty" meets the Three Stooges.

Writer-director Greg Jardin’s seductive — if occasionally difficult to follow — movie is a wicked spin on a familiar tale: a group of friends spending a dramatic drunken evening in a big, luxe house.

Hutcherson isn’t particularly adept at playing moral anguish, but the film maintains an electrifying tension for its first half as we wonder just how far his character will go. In the second half, though, the film degenerates into a desultory action movie as everybody starts creeping around trying to shoot one another.

The movie includes a recurring motif of immigrant taxi drivers - like them, the movie is constantly going around in circles.

Adrift is paced like its title, and the story’s momentum is slowed somewhat by constant toggling between past and present.