It’s a truly interesting slasher fest; in this one, the heroine gets to be both beauty and beast.

Ach, Klaus, das ist funny! But Beerfest goes on too long. Take out 20 minutes of nonfunctioning jokes, and it would have given you a comedy buzz like four tankards of Lowenbrau.

There are precious few laughs in this poorly written and directed "unromantic comedy" - the sort of dire date movie you'd take somebody to if you wanted it to be a LAST date.

A clever and big- hearted gay screwball comedy.

Despite all its problems, The Last Days on Mars serves up a deliciously shivery hypothetical: Wouldn’t we all secretly love it if the Mars rover sent back footage of a “walker” or two?

It would also help if they were given some dialogue that was actually funny, or at least more clever than the lines provided to Ashton Kutcher and Katherine Heigl in the distressingly similar "Killers" from earlier this month.

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

Even in an underwritten role, the delightful Madsen shines in her best performance since her comeback role in "Sideways."

This windy courtroom drama is punctuated by cheesy flashbacks.

This movie is never more than a one-liner away from sitcom, yet it goes down like ice cream.

I’ll give credit to Krasinski for endeavoring to deliver a new, if derivative, story. He’s not made a loathsome movie, really, but forgettable mush.

Ranges from exquisitely sensitive to crass, but overall, it's an interesting effort.

Indulges in some of the crudest Jewish stereotypes seen in a recent movie, right down to the crack about every Jewish girl having a nose job.

It's not uninteresting, but so much footage is given over to earnest discussion of sexual politics that the overall effect is like sitting through a semester's worth of transgender studies.

What's cutting- edge comedy for one generation can become generic filler for the next - that's the lesson to be learned from The In-Laws, a strenuous attempt to recycle a vastly funnier minor classic.

The film is too low-key to be the farcical rock-and-roll jape it sometimes seems to strive for, yet too lighthearted to be affecting.

The trope of horror-suffused female friendships is a fertile one, but despite a screenwriting credit from the very capable Nicole Holofcener (director of “Enough Said,” among others), Every Secret Thing comes up short.

While this slow-starting update of "Private Lives" has plenty of laughs, the incredibly expressive (and too-seldom seen) Stevenson turns Julia's romantic dilemma into something genuinely moving. She makes A Previous Engagement something special.

A sizzling soundtrack and Jennifer Lopez's best performance since "Out of Sight" go only so far in El Cantante, a downer of a musical biopic that leaves no cliché unturned.

Matthews is supposed to be the star here, but it's Englund's hilarious, over-the-top performance that keeps Jack Brooks: Monster Slayer, by director Jon Knautz, from becoming another forgettable exercise in horror.

The first time I saw Yes Man, I thought the concept was getting kind of stale toward the end. As it turns out, that was only the trailer.

What truly makes U.N. Me repulsive is its crassness.

Killing Bono begs to be remade with A-list stars but, given Neil's history of near-misses, probably won't be.

The tragedy of Hutchins’ death overshadows anything that’s good about the film, sadly including her own grand cinematography.

The bickering and mishaps make for a semi-enjoyable if low-impact film that may appeal to the kind of nostalgics who buy Time-Life collections of '60s songmeisters.

Can be summed up by the fact that Ashton Kutcher, making a glorified cameo as a narcissistic model-slash-actor, is the best thing in it.

So laugh-poor that it shoves all its comedy chips on a bet that you can build a movie around nose gags.

Lacking quite the zip and zing of "Run Lola Run," this lively indie tale of a drug deal gone awry could be alternately titled "Walk Fast Bobby Walk Fast."