By the movie’s end, the party guests may be ready to dance the hora — or they may find themselves sitting this one out. “Hava” will have its revenge, however: It’s still stuck in my head.

Antarctic Edge will make good viewing for science classes of all levels, and ideally inspire a new generation to continue this hardy mission.

A slack-paced, surprisingly bland affair, filled with jokes that sound like they should be funny but aren't.

While the performances are often engaging, this loose collection of largely improvised numbers would probably have worked better as a one-hour TV documentary.

The most depressing date movie since "Random Hearts."

In mashing together story elements from Terrence Malick’s “Badlands” with the look of Malick’s “Days of Heaven,” Lowery put 90 percent of his energy into the atmosphere and 10 percent into the script.

Yet despite the efforts of an excellent cast headed by three top comedy names -- Owen Wilson, Steve Martin and Jack Black -- and tons of beautiful scenery (mostly British Columbia and the Canadian Yukon), this movie stubbornly refuses to take flight, or generate more than a few chuckles.

Adapting the author’s cornball formula for a second time around is once-ambitious director Lasse Hallström (“Dear John”), who delivers a cinematic valentine you’ll be reasonably content to watch on a flight in a year or so.

Even with a clever final twist straight out of "The Twilight Zone," this crummy-looking two-hander is a tough sit.

The overlong Amigo has its heart in the right place, but its approach to complex issues is too simplistic to win over unconverted minds.

Yes, there are the requisite jump-in-your-seat scares, many of them false alarms, and it all plays out basically exactly like any other horror movie, but Lawrence does elevate the proceedings.

Strong cast is defeated by a labored, screenplay in this overlong, clunky love story.

So haphazardly written and directed that it barely qualifies as a movie, The House Bunny is watchable solely for the comic stylings of the blond veteran of the "Scary Movie" series.

Doesn't offer plot or an inquiry into the evil in men's hearts. It simply wallows in the filth and inhumanity that surround a father and his pre-adolescent son as they march across the shattered remains of this country.

Kekilli delivers a perfectly tuned performance. Too bad the script is often clunky and melodramatic, as the first-time director, Vienna-born Feo Aladag, tries to manipulate viewers' emotions.

Trouble is, while the social milieu is nicely realized, other parts of the drama are not. Too often Burshtein cuts off a scene prematurely, darting away just as the crucial moment of emotion or confrontation appears.

There's not a moment in it that feels fresh or authentic or inspired. But neither is it offensive.

As much fun as it is, this all-star tribute is awfully one-note, never questioning Gordon’s seemingly casual habit of befriending only the ultra-famous.

For the most part, the film is second-rate horror, but watchable enough.

Twi-hards, Beliebers and Whovians have nothing on the cult of Jane Austen, whose beribboned ranks are ripe for satire. Unfortunately, this scattershot comedy only occasionally hits the mark.

Has laugh-out-loud moments of inspired idiocy. The problem is that this one-joke skit (done first and better by Britain's Ali G) has been given the Hamburger Helper treatment and stretched to feature length.

Curse of the Golden Flower could also be called "Curse of 'Crouching Tiger, Hidden Dragon.' " In other words, it is yet another attempt to cash in on the success of Ang Lee's 2000 martial-arts epic, which will go down in the history books as one of the most overrated films of the decade.

What Bombshell has going for it is a jaunty pace. The film by Jay Roach — the “Austin Powers” director who’s had rotten luck with dramas — clips along and is always watchable. But it misguidedly mimics other annoying, ripped-from-the-headlines movies, such as “The Big Short” and “Vice,” that rely on Elvis-impersonator acting, smug narration and quick cuts. Sometimes, you just want to see a tough topic taken seriously.

It's in the teenage section where the film goes seriously wrong and veers from an absorbing family story.

The first “Sonic” worked unexpectedly well because it thrust the wisecracking alien into a small town filled with humans — a hog out of water — and gave Carrey the opportunity to once again do the physical comedy he’s best known for. Now the novelty has worn off, the charms of the original have evaporated and there’s nowhere for the series to go.

At its best, Shanghai Calling is mildly diverting.

Like a cubic zirconia knockoff of a priceless diamond necklace, this female “Ocean’s” update looks the part but just ain’t got that sparkle.

Silly enough for you? Did I mention that the immortal Ken Jeong of “The Hangover’’ plays God, who gets mighty pissed when hubby accidentally shoots Jesus out of the sky?