3D or not, the film about the mop-topped Canadian - who turns 17 March 1 - doesn't let us get very close to "the talent."

The laughs - Doug tries to take up the pipe, a la Sherlock Holmes - are on the flat side.

Like Tati himself, The Illusionist feels like a relic of a different time.

Manages to deliver a striking, nicely detailed, visceral thriller built on a corny, old-fashioned script.

If it's not an unerringly faithful adaptation of Shakespeare's play, it still manages enough wit and charm to come off.

A timid thriller that manages a couple of mild jolts and a couple of creepy-cringe-worthy moments in its Variations on a "Single White Female" theme.

It's a solid, old-fashioned action yarn filled with the very latest dive gear and the oldest plot formula in the movie-maker's playbook.

In Mary, Leigh has found the polar opposite of Sally Hawkin's giggle-through-the-pain heroine of "Happy-Go-Lucky."

This isn't "Up in the Air," and we're not dealing with this awful event on a metaphysical level. But there's truth in between the cliches.

It's a sordid tale and, in Gibney's telling, a cautionary one.

Only Hopkins, readily referencing his bag of tricks, seems to get what to make of this "inspired by trues events (and a book by Matt Baglio)" hooey.

It's a modestly effective but jaw-droppingly violent picture.

Cassel's performance...the best reason to see this, one of the best French (In French with English subtitles) crime thrillers of the new millennium.

The lack of dramatic tension that knowing the ending before you being creates isn't a huge drawback.

Somewhere is a triumph of tedium, banality passing for depth, a vacuous embrace of nothing.

An entertaining old-fashioned prison escape movie with a touch of the epic about it.

It's a movie benefiting from another sparkling, sexy and emotionally available performance by Natalie Portman.

A wonderful movie anyone who's ever experienced dog ownership at its most glorious, and most embarrassing.

One of the most entertaining history lessons you could ever hope to sit through.

That message, this script and these actors make Rabbit Hole one of the best films of 2010.

An unsatisfying if often surprising experience, a less warm and fuzzy "Parenthood."

A violent, clumsy, jokey, badly-plotted and miscast mess.

A little like modern country music - odd moments of sincerity, heart and authenticity peek through the plastic, the hype and the manufactured hokum.

The best you can say about this hooey is that at least he had the King of the Bs, Ron Perlman, along for a few sidekick laughs.

A dry and moody piece built on closely-observed characters, not on thrills or an unraveling plot.

Its chilling third act suggests that sooner or later, even these riders on the Islamic short bus are going to get one right. And that won't be funny at all.

It's a gritty, almost ugly to look at film, and Cianfrance isn't shy about including a random blast of unwarranted shaky footage.

It is Carrey, turning his patented rubber-faced, rubber-voiced shtick loose on a role with heart, substance and entertainment value, who makes this romantic farce a movie too good to sit on any studio's shelf.

You'd better watch out. You'd better not swear. Have a gun handy, loaded for bear. Santa Claus is coming…to Finland.

The villains are weak and the narrative has little drive to it.

Engrossing and moving story of a alternately warm and combative relationship.

Matt Damon is an interesting, chatty choice to play Laboeuf.

Paul Weitz ("Cirque du Freak," "American Dreamz") takes over as director, and the film shows all the signs of re-shoots and re-edits designed to bring in more characters and perhaps find a few more laughs.

The voice casting is on the money and these funny people - and I'm including Pitt, who plays this sort of self-mocking Adonis well, even in animated form - make this cute comedy come off.

The best you can say about this Yogi Bear is that he's harmless. No animal was harmed in the making of this picture except the one Hanna-Barbera made a bundle on almost 50 years ago.

Too cute, too star-studded and entirely too long.

Artful, epic, operatic even, this thriller set in the world of ballet challenges the viewer with its intelligence and depth and wit.

That rare film in which every performer in it leaves the viewer in awe.

Like "Avatar," "Legacy" is a film too in love with its own good looks. And like the original "TRON," the sequel's a bit of a slog.

Shockingly, it's funny. Often in shocking or at least wildly inappropriate ways.

But as useful as it is to chew on ideas that don't hew to climate change dogma, Cool It leaves big questions about Lomborg unanswered.

this is a straight-ahead ticking clock thriller, with the usual Tony S. trademarks - punchy dialogue and men doing what needs to be done.

Any signs of life the series showed in the last installment (Saw VI), a dash of humanity here and there, were premature.

Two very good looking people play two offbeat and abrasively charming lovers in Love & Other Drugs. And when your screen romance is as sexual as this one, it helps if your stars are about as good looking with their clothes off as human beings get.

Whatever brownie points Tillman scored with "Notorious", Faster is that wake-up call that he's no John Woo.

The new creature feature Monsters is an intriguing mash-up of "District 9," "The Host" and assorted recent post-apocalypse road pictures.

The pleasures of Welcome to the Rileys are in the simplest human message of all. Take an interest in somebody who needs help and the life you save may be your own.

Animated musicals are only as good as their songs, and this one isn't on a par with "Beauty and the Beast" or even "The Princess and the Frog."

A musical vamp on young LA's decade-long Pussycat Dolls fascination with tarting up like strippers and shaking those money makers, it's somewhat less than the sum of its parts. But those parts. Oh my.

The first third is brisk and witty, the middle third gloomy and the finale of Part 1 not so much a cliffhanger as a grim, inspiring tease, a masterly build-up to put "I can't wait for part 2" on every Muggles' lips.

While we may ogle Tamara, blush at her charms and revel in her world, in the end Tarama Drewe is just a bit of Brit tease that doesn't come off.

Sweet and sunny (Lots of English language pop tunes) and laugh-out-loud silly and well worth seeing before Hollywood remakes it with somebody like Matthew McConaughey in the title role.

True to the intent of the Christian apologist Lewis' novels, there are lessons to be learned, many of them delivered by the chivalrous mouse, Reepicheep, voiced with a plummy verve by Simon Pegg.

The script piles the preposterous on top of the absurd and the film's thin charms dissipate, revealing the creaking movie star contraption underneath.

A genre mash-up that never quite achieves "So very bad it's good" status.

It's not the smoothest thriller. But All Good Things is thoroughly engrossing, a roman a clef that chillingly ponders a puzzle and suggests solutions outlandish enough to be stranger than anything Hollywood, on its own, could make up.

As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.

A detail-oriented thriller that lets us keep up even as it races to a conclusion.

Skyline plays like an effects guru's resume reel, not a movie.

This mismatched "couple" - have made, over the course of three long subtitled Swedish thrillers, the most dynamic duo of recent cinema history.

A barely serviceable romantic comedy.

Perry's great gift to this unfilmable play is getting it on the screen, his sharp eye for casting and his evident affection and sympathy for black womanhood, even in movies in which he doesn't don a dress.

We get little sense of his interior life, what was going on in his head as school, girlfriends and music were competing for his attention and music was winning out. His drive is suggested, but never really felt in the performance.

The magic in the film is in the actors. Only somebody who has stripped himself emotionally bare for the camera could achieve the level of performance that Goldwyn gets from every single SAG member on this set.

It's all tiresome, muddied and artlessly made.

A confident, cocky and often comic promenade down the same primrose path.

This Herefter, despite the odd engaging moment, is a terrible letdown, like investing in a belief system and discovering there's no "here" that you've been after all your life.

There's a taste of Southern Gothic here, even though this story is set in Michigan. The incendiary mix of religion, sex and crime threatens to ignite every time Stone tries to turn the interogations back on Mabry.

Director Michael W. Watkins, whose decades of TV credits go back to "Quantum Leap," manages one clever visual gag - a bus wreck, observed from the far side of a cornfield. We hear a crunch, see a telephone pole wobble and a little puff of smoke. Then Watkins blows the moment with a fiery overkill.

Red has enough acting flourishes and incidental action pleasures to make it an adrenalin-jacked giggle, if not exactly the romp one so fervently expects.

Those Jackasses from "Jackass" aren't getting better, they're getting older.

A well-acted tale of an underdog's triumph that sorely lacks an underdog, it teeters between pleasantly generic film biography and rank manipulation.

As uneven as it is, Life as We Know It still goes down like comic comfort food, especially for anybody who's ever dealt with parenthood.

Cute, bordering on cutesy, yes. Light and shallow and inconsequential in a lot of ways. But funny? Rarely.

This waking nightmare from the "Nightmare on Elm Street" creator is a puzzle with no solutions, a tale with a twist that isn't a twist at all.

The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.

Reeves has Americanized a very good foreign film without defanging it.

It's only a movie, and not a remotely effective one. And for Zellweger, whose "Miss Potter" and "Appaloosa" were barely seen, with "Leatherheads" and "New in Town" further deflating her A-list clout, that's the real shame here.

Disney's effort to turn Kristen Bell into America's Sweetheart reaches its tipping point with You Again, a flat romantic comedy that packages her in a funny setup and surrounds her with funny people.

It's almost kitschy - the way Stone injects himself into a couple of scenes, an eccentric Eli Wallach cameo, the inclusion of a Charlie Sheen moment that flat out winks at the audience.

A gorgeously animated combat fantasy - "The Lord of the Rings" meets "Happy Feet."

You have to remind yourself to breathe.

The film is more overwhelming than uplifting.

A mirthless, joyless comedy with nary a hint of romance, mystery or justification for its existence.

The ghost of John Hughes smiles upon Easy A, a film that freely and giddily borrows from and pays tribute to Hughes' famous Holy Trinity of '80s teen angst comedies.

It's the best heist picture since "Heat."

As with any movie, this kids' film is only as good as its writing - the jokes, the cute bits, the heart. And that's where Alpha and Omega comes up short.

Devil is the sort of story Rod Serling would have taken for a spin in "The Twilight Zone," back in the day. Shyamalan came up with the idea, produced it and got others to script and direct this 76 minute exercise in movie minimalism.

A low energy romance, a movie that rewards a filmgoer with the patience to let this affair play itself out. Sink or swim, Connie and Jack will come out of this changed. And so will we.

The script, by actor turned writer John Posey, has structural problems and motivational issues in between the cliches. And Cena, a few movies into his career, is still all presence and no acting.

It's a humorless movie of morphing zombies (they take on beastly attributes), phoned-in performances and trite dialogue.

A transgressive blend of stoner comedy, horny teenager movie and "Blair Witch" reality riff, this no-budget romp through teen New Orleans crosses the line and erases that line in a hell-bent pursuit of hell-bound laughs. And yeah, it's often funny as all get out.

It's a little racy for our "High School Musical" set. But Bran Nue Dae (say it out loud) will play anywhere fans like a musical so cute you want to pinch its cheeks.

Like those '70s movies it borrows from, there's a blast of tongue-in-cheek politics built around a "They messed with the WRONG Mexican" message. No, this may not go over in Arizona.

There's an unexpected wistfulness, a bittersweet undercurrent to Going the Distance that could not have been in the script. This romantic comedy co-starring Drew Barrymore and longtime beau Justin Long was finished just as the real life couple was splitting up. For good, this time.

Crisp, compact and cryptic, The American is a standard-issue hit-man thriller tailor made for George Clooney.

Its grisly violence and ridicule-religion tone make it sort of the anti-"Exorcism of Emily Rose."

The performers are given stock types to play, and Elba and Dillon, at least, can do a little with that.