Hop gives us . . . a bunny who poops jelly beans. That idea doesn't fill you with seasonal joy? Neither will the rest of the movie.

Director Susanne Bier's chilly morality play is slow to get started, but once established, its three parallel stories comment provocatively on one another.

A spoof of you-know-what that's a lot less funny than it sounds.

Creepy spirits in old-timey dress, ear-stabbing sound cues, slamming doors and bloody handprints: The horror flick Insidious isn't scared to be trite.

A fun ride of a sci-fi thriller with terrific romantic chemistry between Jake Gyllenhaal and Michelle Monaghan.

A thoughtful and intelligent film, and should appeal to adventurous souls.

Anne Coesens, wife of the film's director, Olivier Masset-Depasse, gives a strong performance as Tania.

Writer-director John Gray, who created "Ghost Whisperer" on TV, is a son of Brooklyn whose love for the borough is as thick as a pint of Guinness, and he keeps finding fresh ways to present familiar plot points.

It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.

Strands a good cast in a sea of stereotypes and clichés.

Far too childish to intrigue adults yet too slow and dull for kids.

Combining narrative heavy-handedness with an airy disdain for the details of the situation, director Julian Schnabel gives us a one-sided view of the Israeli-Palestinian conflict in Miral.

Seventh-graders are far cooler and more anarchic than depicted in this often-dopey movie, which is aimed at more of a fourth-grade sensibility.

A soul-deadening mash-up of "Kill Bill," "Showgirls" and dozens of other better flicks that's not the least bit exciting or sexy, Zack Snyder's Sucker Punch is what happens when a studio gives carte blanche to a filmmaker who has absolutely nothing original or even coherent to say.

Suffers from a lack of focus and a sitcom script.

The noise level reminds me of Canal Street in Chinatown on a Sunday afternoon.

May serve as a useful way to introduce teens to what World War II in Europe was like.

Scott's feature debut is beautifully filmed and offers an unexpectedly shocking ending.

An essential document of bad taste that needs to go right into the time capsule. History must not forget.

At the end, as Shadyac proclaims, "I stopped flying privately" (well, hurrah for you, Mahatma), renounces his Pasadena mansion and moves into a trailer park, the results of his epiphany grow funnier than any of his movies.

Beautifully filmed and well-acted, "The Gift to Stalin," directed by Rustem Abdrashev, has its schmaltzy, cliched moments, including an unnecessary finale in Jerusalem.

Unpretentious and unexpectedly moving.

It's a bit less good than McCarthy's earlier films -- Jeffrey Tambor has a large, superfluous role that abruptly disappears, and Ryan, a fine actress, makes a less than entirely convincing spouse for Giamatti. This one is a crowd-pleaser nonetheless.

Bateman has rarely had the opportunity to play a snarling lawman, but with his cool aviators and his bristling putdowns he's perfect, too.

Limitless may please a few looking for a shallow fantasy thriller, but won't fire up the synapses of the intellectually demanding.

It goes down as smoothly as a milkshake thanks to an impressive cast.

Plotwise, the movie can (like many a Brooklynite) barely be bothered to comb its hair. Just when the pace needs to pick up, everyone sits around discussing fruity drinks.

Sadly, with the Soviet Union gone, the art faces a new enemy: Islamic extremists.