For all of its homicidal aliens and toothy beasts, I Am Number Four did contain one element that genuinely unsettled me: the line "produced by Michael Bay." Nooooooo!

Fortunately, Winters' legendary inventiveness as a comedian has not diminished with the years.

Beautifully composed documentary.

Wind power plus solar power equals hot air in the propaganda piece Carbon Nation, a documentary so disconnected from reality it could have been produced by President Obama's speechwriters.

A technical and performance success. The chemistry between Sosa and Lujan heats up the screen as their lives spiral out of control.

Poetry, which rightfully won the best-screenplay prize at Cannes, never resorts to exploitation. Under Lee's guidence, it is a mature film for mature audiences.

This "Alfie" meets "Boogie Nights" bio fizzles because, although Sassoon never stops talking, he never says anything.

The film slowly builds up to Justin's first appearance at Madison Square Garden, where his show sold out in 22 minutes.

The clever screenplay, co-written by director Kelly Asbury (who co-helmed "Shrek 2"), follows the DreamWorks template of combining pop culture references, sight gags and action for the kids, and more sophisticated humor for adults.

A long slog through ancient muck, so-so sword fights and dumb luck.

Maybe the Midwest isn't actually like this, but if it were, would that be so bad?

You know you're in trouble when you're suffering a comedy shutout and the pinch-hitters you send in are Kidman and Dave Matthews.

Madsen interviews experts galore, but few seem to know what's going to happen with this project in the next decade -- let alone 100,000 years.

A drippy romance that makes Nicholas Sparks look like Leo Tolstoy.

An uplifting story to be sure, but director-producer David Swajeski doesn't do it justice.

Sergei Puskepalis (Sergei) and Grigory Dobrygin (Pavel) give powerful performances, but the real star is Mother Nature.

Weds half-hearted thriller elements to the self-absorbed, no-budget mumblecore films pioneered by Katz in efforts like "Dance Party, USA."

The Other Woman isn't a perfect film, but it makes better use of her (Portman) talents than her other current movie, "No Strings Attached."

It sounds like it was written by the star pupils at the Cameron Academy of Screenwriting.

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.

Call it "The Doom Generation II." Gregg Araki's Kaboom returns to the trippy ways of his 1995 erotic head trip.

The piéce de résistance is a "Rocky"-ish battle between bare-fisted Ip (Donnie Yen) and a racist Brit who uses boxing gloves and goes by the name Twister.

The sort of misfire that Hollywood has long buried in January.

Short, fast and nasty, The Mechanic is considerably more fun than the rather lethargic original.

Satisfying, well-acted drama.

It is beautifully shot, with impeccable acting and visual detail.

Director and co-writer Martin Pieter Zandvliet draws inspired work from Steen.

Directed by C. Scott Willis, this beautifully shot documentary blends Francesca's work -- photos, videos and passages from her diary -- with interviews.