Cowboys & Aliens is one of the silliest movies ever made, but so many otherwise serious people have attached their names to it that, as Arthur Miller wrote in Death of a Salesman, attention must be paid.

What to say about an uphill slog called Crazy, Stupid, Love? It's not nearly crazy enough to clear the clogged arteries of summer comedies, and when the love appears, it's in all the wrong places. Oh well, at least they nailed the stupid part.

Good Neighbors is a hotbed of twisted ideas with a straightforward yet novel approach to the Gothic horror in the hearts of mistakenly everyday people. Stressful and disconcerting but highly recommended, it gave me nightmares.

You won't find yourself yawning. It's a great double stretch for an actor and Mr. Cooper plays both the smoldering Latif and the bombastic Uday with combustible energy.

A benign slice of life about suburban angst on Long Island. It's not much, but thanks to the noble efforts of a very good cast, I've seen worse.

The movie is so clueless and time-warped it could be comprised of outtakes from "Father Knows Best."

Director Gilles Paquet-Brenner has done an elegant job of reducing a complex piece with many components into a riveting narrative that grabs you by the lapels and refuses to loosen its grip.

The film is awkward, the situations tenuous and underdeveloped, the pacing torturous as a slow drip from a leaking faucet, and the narrative just plods along, with the body count rising for no clear reason.

It's a stupid farrago of aborted ideas, misguided actors, lame direction, submental writing and follow-the-dots plotting that never comes anywhere within a 10-mile radius of what I used to call coherent filmmaking.

The awesome effects take over where the plot used to be, and although this is the end, my guess is that it will fire the imagination for years to come. What fun to feel like a kid again. I had a marvelous time.

It's one of those revolting, raunch-fueled movies churned out in their sleep by the Farrelly brothers and Judd Apatow that I usually hate, but with real cleverness, off-center wit and edgy imagination. Imagine an X-rated Three Stooges farce, and you get the picture.

It eventually fails, not because of its philosophical ideas, but because it introduces so many of them at the same time that even a viewer with a score pad can't keep up.

Congenial is the word for Larry Crowne, but it's as flat as an ironing board.

This is bargain-basement moviemaking, and looks it. Here's wishing Mr. Pierce a vigorous movie career, and better luck next time.

The power in this movie is the way Chris Weitz trusts us to discover the facts for ourselves.

Cheap, preposterous and mind-bendingly dreadful.

Has more charm and wit than most of its J.D. Salinger-inspired cousins in the same genre, and is undeniably engaging.

Even as a prime example of rotten summer silliness, this is a paralyzing experience.

The Trollhunter writers either have an abundance of imagination or they've been smoking a controlled substance.

The best thing about Super 8, by far, are the kids, all perfectly cast. The script does a much better job making them believable and real than the adults...The rest of the movie steals shamelessly from...

The best thing about Beginners is the way it accepts every character in a nonjudgmental way.

Too bleak and wrenching to recommend unconditionally. You need a strong constitution to watch it soberly, but it is a gripping experience that left me weak in the knees.

The movie knocks itself unconscious trying to be offbeat, but instead of cinematic heart, the director self-indulges in cinematic art, drowning the whole thing in freeze frames, slow-motion and color-coding, owing everything he knows to the worst of Jean-Luc Godard and Wes Anderson.

Content to make movies for himself (Malick) that nobody else wants to see as long as he can find someone to foot the bill, he's also an iconoclast searching for significance. So am I, but not 138 minutes worth. Anyone seeking symmetry in this cinematic taffy pull risks emerging from it with a pretzel for a brain.

Hey, Boo solves the mystery of Boo, and also, to some degree, the mystery of Harper Lee. It's a fine film, well worth seeing.

In a film so ripe with temptations for posturing, exaggeration and satirical overacting, nobody is anything less than natural, unpretentious and funny as hell.

I'm sure there is much to be learned from Forks Over Knives (the title means fruits and veggies can be forked, but anything you cut with a knife is lethal), but what does it have to do with real life?

Everything Must Go is the one for the Gipper-the movie in which he steps out of character for his own sake and works hard to lose Will Ferrell. The results are mixed, but I admire the guy for making an effort.