So swaddled in good intentions that it's like taking a very short journey cushioned on all sides by air bags. That are stuffed with cotton candy.

May be the most fun you'll have at the movies this summer.

The title of the overlong Fifty Dead Men Walking refers to lives saved by Sturgess' character, who is still in hiding years later.

Basically canned musical theater, but this is one Tony-winning Broadway show that's well worth preserving and seeing.

A tad too long, and takes its sweet time to get to the point. But its twisted heart is in the right place.

Demonstrating that an hour and a half of stunts doesn't make a movie, this feature is X-treme only in its multidimensional dullness.

Koreeda, talented director that he is, never allows the story to sink into soap-opera melodrama, and he refrains from pointing fingers.

The movie falls into the same uneasy category as "Eight Legged Freaks": too tongue-in-cheek to be thrilling, not funny enough to be a comedy.

This environmentally themed, very loose version of Hans Christian Andersen's "Little Mermaid" is never going to be mistaken for Disney's musical of the same name.

The movie doesn't really begin or end. Whether the lights have just gone down or the credits have begun to roll, things are pretty much the same for Henry.

Jeremy Piven's infamous "sushi defense" for skipping out on a Broadway role is easier to swallow than his performance as a scuzzy auto liquidator who sees the light in The Goods: Live Hard, Sell Hard.

For rock fans, hearing many Led Zeppelin and U2 classics on a theater sound system is worth the price of a ticket.

Fairly entertaining, if hardly surprising, results.

A witless homage to "Shampoo" and "American Gigolo" that's brain-dead on arrival.

Despite its stomach-turning images (and maybe because of), it is a daring, provocative work by a talented helmer who gets off pushing the envelope. He should be supported, no matter how outlandish he gets.

Although it has affecting moments, the film can't quite decide whether it's about aging or about the effects of war on the home front.

Formerly a real American hero, G.I. Joe is no longer a hero (it's a group) or American. (It's a multinational team of military superstars, though the way it does business, you'd feel safer with the Croatian navy on your side.)

There's very little doubt in my mind that somewhere, culinary legend Julia Child is fuming about being consigned to a double bio-pic with a whiny, self-centered cooking blogger.

Paper Heart is like a really special five-minute YouTube clip that goes on for an hour and a half.

Twohy serves up a hard-to-swallow second-act twist and an unconvincing back story, but the slightly overlong A Perfect Getaway recovers with a pulse-pounding climax.

As Mark Twain didn't say, reports of the death of mumblecore are greatly exaggerated. As proof, I offer Andrew Bujalski's wise and wondrous Beeswax.

Giamatti tries very hard to put over Cold Souls -- some of his reaction shots are priceless -- but it's going to leave some people, well, cold.

Genre fans will definitely get off on I Sell the Dead, but outsiders might be less enthusiastic.

Turns out to be one of the most absorbing films of the year. Plus it has lots of wiener jokes.

Two fins up for The Cove, a documentary that whales on evil Japanese fishermen who kill dolphins for lunch meat.

As directed by Ole Christian Madsen, the thriller features well-choreographed shootouts and assassinations. But the script is too melodramatic and complicated for its own good.

A chipper documentary sure to please seniors.

The androgynous Dobroshi is in nearly every scene. She has an exceptional screen presence that brings authority to her portrayal of a woman seeking redemption. As for the Dardennes, they prove yet again that nobody does human frailty the way they do.