It's a treat for children making their first trek to the multiplex and for parents and grandparents with fond memories of the Hundred Acre Wood.

The finale to the Harry Potter saga is, like most of the films in the series, a bit of a slog. But it's a generally satisfying slog.

A slick one hour and 50 minute version of those political convention hagiographies ("A Man From Hope"), so it's not exactly an objective take on its subject, former Alaska governor and vice presidential candidate Sarah Palin.

The first funny film to give those "Bridesmaids" a run for their money.

James takes his comic lumps like a man. His Griffin suffers injuries and indignities and lets us laugh at him as he does. No matter where the script wanders and where the direction founders, at some point, James' comic instincts take over. And this time, they don't let him down.

Here's a documentary so slick, novel, touching and outrageous that your first thought might be "This has to be fake."

Zeroing in on Carr as the movie's "hero" was a smart move. He comes off as smart, confrontational and unconventional.

A perfectly pleasant but fluffy, inconsequential romantic comedy.

This script, this leaden direction ensures that even as the teen wish-fulfillment fantasy, complete with young women playing dress-up, Monte Carlo fails.

Moon delivers the popcorn in gigantic fist-fulls of fun.

It's a movie of thematic dead-ends. Director Azazel Jacobs and writer Patrick DeWitt give us a slow SLOW and somewhat morose tale that isn't remotely funny or profound enough to sustain that pace and tone.

Bad Teacher is a pulled punch, a pot-smoking/kid cussing/teacher copulating farce that is less than the sum of its parts.

It's a bit long to be as kid friendly as this educational and visually striking film is meant to be.

They turn more of the story over to the comic relief, the dopey tow truck Tow Mater, and get a sillier, more kid-friendly movie out of it. Yes, Cars 2 is better than "Cars."

The riffing, the one-upsmanship, the off-the-cuff zingers and the singing (ABBA, a great favorite of Coogan's most famous creation, the dizzy talk show host Alan Partridge) make The Trip an easy-going trek down a road well-traveled by these two.

Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.

Precious, protracted and pleasant enough.

Well, Green Lantern isn't "Jonah Hex" bad. But it's silly enough to be part of the same "silliest Warner Brothers comic book summer movies of all time" conversation.

A screen romance that echoes its title. It gets by. Barely.

Taken on its own merits, this profile of "Buck" Brannaman is a pleasant and touching but somewhat superficial insight to the man and his methods.

Not a neat and tidy thriller. It is a most engrossing one, commanding our attention even as the filmmaker tries to slip this or that hole in the plot past us.

A mild-mannered kids' comedy that makes for a pleasant-enough time killer.

J.J. Abrams, with Steven Spielberg producing, has made one of those jaw-dropping out-of-body summer entertainments that kids old enough to swear and see PG-13 films will remember on into adulthood.

If you're looking for a filmmaker to document, for all of humanity, "one of the greatest discoveries in the history of human culture," the great Werner Herzog is your guy.

Souffle-light and long on charm.

This is still a most original take on the consequences of following your own "yellowbrickroad" when you don't know, for sure, that there's an Oz at the end of it.

X-Men: First Class still sings the praises of Marvel Studios' marvelous quality control of comic book movies. It's good, clean summer movie fun where the money they spend is up on the screen - with actors and effects - so that we won't mind spending our money on it.

Has a "been there, done that, jailed for it" feel.

Never graduates to the uplifting tale it sets out to be.

A sequel that delivers more heart than laughs, and is, if anything, more visually dazzling than the 2008 original film.

An often moving and always disturbing film. Little is explained, motivations aren't explored. We miss them, at times. It's still a film of power, wit and thought-provoking ideas, one well worth seeing.

Repetitious, tedious, and pretty much joyless.

Incendies is occasionally compelling, but also overlong and vexing in the ways it draws out a "shocking" conclusion that we unravel long before the characters do.

The story isn't particularly organized. It's more a collection of scenes - than a coherent coming-of-age tale.

A mad mash-up of sci-fi, Western, sacrilegious silliness and vampire movie. What lifts it to "I've seen worse" status is the previous teaming of star and director Scott Stewart, who last gave us the archangel fighting off other angels fiasco "Legion."

Hobo hits the screen as a grim, visually ugly, intermittently funny-occasionally preachy piece with only the estimable Mr. Hauer to recommend it.

It's a bleak yet optimistic film, and Ferrell perfectly underplays his Carver anti-hero and delivers a rich, layered and subtle performance. And a funny one.

This is "Her Hangover," a smarter and sweeter stumble to the altar that never quite gets to Vegas, and doesn't seem to mind.

Greatest Movie isn't Spurlock's best. It plays like an overlong, overly cutesy TV news report (woman and man on street interviews included) on product placement.

A most deserving Oscar winner and a film that could provoke discussion anywhere it is shown, anywhere people of any age are being bullied.

The daft feather-light French farce Potiche is a period piece designed to remind us of just how far and how fast women have come in the Western world.

The funny moments outnumber the warm ones. There's a touch of religion and plenty of melodrama, especially in the contrivances of a cluttered and drawn out third act.

Thank heavens Krasinski, at least, had the screenwriter's ear. He makes every one-liner land. "The Hamptons are like a zombie movie directed by Ralph Lauren."

Has a lot of that winking wit we've come to expect from our post-"Spider Man" Marvel movies. It has a hunky, self-mocking young star, solid support from a couple of Oscar winners and the slick sheen that state-of-the-art effects can give you.

Its star, Brandon Routh, is just as miscast as a droll, world-weary "investigator of the undead" as he was as a boy-Man of Steel back in 2006.

Absurdly long, absurdly over the top and absurdly absurd, Five Five - still manages to be more fun than any movie with its outrageous carbon footprint has any right to be.

Disney's Prom is to real high school what "High School Musical" was to "West Side Story" – all fluff, no edge.

The script is a mad, muddled blitz of one-liners and movie references. Some of the animation is a hoot, and a few voice actors stand out.

It's a sturdy World War II yarn, with harrowing and heart-breaking moments sprinkled throughout.

13 Assassins is entirely too long and too talky. But the cat-and-mouse game of strategy, figuring out when and where to ambush the evil overlord's entourage, is fascinating.

A winning narration (read by Greg Kinnear) holds things together. And there's just enough script for a good cast to run with. Harris and Madigan lift the whole enterprise just by being who and what they are - great actors.

Stuffed to the gills with Perry's mix of the sacred and the silly and a serious dose of self-help for the self-absorbed.

Take "Kick-Ass." Strip it of most of its wit and charm, amp up the violence, the sadism. Make it more crude and coarse and gory. And what you're left with is Super.

Whatever romance and charm Gruen summoned forth from these rough and tumble show people living by their own laws in a traveling, self-contained world of poverty and cruelty, director Francis Lawrence has hacked and ground them off.

Almost every shot is a postcard-perfect African vista, and every animal shown in majestic close-up.

It's not a bad looking movie, with Deco design touches that remind me of the earlier Rand film adaptation, "The Fountainhead." But the acting's flat and the script is absurdly cluttered with characters whose purpose may only truly become clear if they ever are allowed to make the other two films they have planned.

Comical, colorful, wonderfully cast and beautifully animated.

May not be as emotionally compelling as John Ford's work ("The Prisoner of Shark Island"), but it's every bit as meticulously crafted.

It's a fitfully amusing, not remotely scary slasher picture.

This Arthur is on the rocks long before Last Call.

A quietly compelling if not particularly emotional and sober-minded treatment of an infamous incident.

With Win Win, McCarthy has found his emotional sweet spot, a sweet and complex story to set it in and the perfect title for it.

Saoirse Ronan shines in the title role, a wily, physically-fit and lethal girl.

The best faith-based film ever made, an uplifting, entertaining and wonderfully-acted account of surfer Bethany Hamilton's life before and after a shark bit her arm off in the waters off her favorite Hawaiian beach.

Best taken as the perfect film to transition your kids from animation to live action fare – short, sweet, and educational.

It's meant to be faintly Pythonesque with a hint of bowdlerized "The Black Adder"...But it's entirely too slow of foot for that comparison to pay off.

The Elephant in the Living Room is damning, but also very sad. These stories, as Harrison points out, never have a happy ending.

Duncan Jones, director of the very fine and very paranoid "Moon," makes this seemingly silly situation work, building tension over 93 minutes.

It's a vivid, blunt and candid look at their kill-or-be-killed existence, which Joubert writes and Irons narrates is "the eternal dance of Africa."

The slapstick is mild-mannered, there's no romance, not a hint of emotion.

The spookiest and most entertaining horror flick since "Paranormal Activity."

The most epic miscalculation since the Golden Summer of M. Night Shyamalan. An unerotic unthrilling erotic thriller in the video game mold, Sucker Punch is "Last Airbender" with bustiers.

Less mopey and downbeat than TV star Zach Braff's "Garden State." But it succeeds in many of the same sweet ways and is similar enough to warrant labeling Radnor "Zach Braff: The Next Generation."

It just takes a very long time to get going. Apparently seventh grade doesn't pack as much potential for amusing, scarred-for-life trauma as sixth grade.

A generic sports drama, it scores points for being that rare "faith based film" to show a little edge.

A thriller that makes you wish you knew how to scream "O.M.G." in Korean.

Lena Dunham's amusing meander through "post graduate delirium," a relationship comedy about nothing so much as the permanent relationships of family and New Yorker's relationship with space - and the lack of it.

This film based on Alan Glynn's novel "Dark Fields" is entirely too reliant on voice-over, a bit too tarted-up by Burger in an effort to make this head trip a visual experience.

There's only so much humor you can wring from the f-bomb, even if you are a cute animated alien.

Populated with a peerless supporting cast, actors who bring just the right history to their roles.

Far more grim than "Grimm," and not nearly as much fun as it should have been.

It's a film of noble sacrifice and "good deaths" but surprisingly few chuckles.

Though light enough in tone, packed with good messages and delivering a couple of lovely, touching moments, "Mars" still has that plastic look that made you wish you were seeing the REAL Tom Hanks in "Polar Express" or the REAL Jim Carrey in "A Christmas Carol."

Hogancamp seems a pleasant, offbeat and intuitive fellow who probably takes all this less seriously than those who "discovered" him.

It's a farce with sexual come-ons and actual sex - the Boy Scout Tim's first encounter with a hooker and a crack pipe - but Cedar Rapids never loses track of the humanity of its characters.

A ten-years-too-late comedy.

This "Inception" meets "Made in Heaven" by way of "They Live" is also the screwiest movie Matt Damon has been in since, what, "Dogma?"

Witty, warm, well-cast and often wickedly funny.

Fitfully amusing or not, the whole demented enterprise of Rango comes into question when you're that tone-deaf about what's appropriate for children.

Heard sets herself up as a Megan Fox with talent. And Cage? He delivers. Mock him for his bad choices if you will, but consider this. Who else could have made this work, or would even want to?

The eggshells the screenwriter and director walk on distance the story from the reality it aims to imitate. And that robs this tale of loss, grief and redemption of its punch.

Sadly, Immigration Tango is like a slow-dance with your sister - perfunctory, awkward and without a hint of heat.

This isn't satire, it isn't that funny and the only bits that work are the titillating ones.

A rude and seriously crude riff on taking a vacation from marriage.

A humorless mashup of "White Chicks" and "Glee."

None of the current generation of wrestler-actors seem to have the charisma or comic gifts of a Hulk Hogan or Dwayne Johnson.

It's a solid, engrossing thriller, but a slack one.

Brit hunk Alex Pettyfer has grown into a solid and quite interesting lead to build this potential sci-fi movie series around.