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.