The combination of a flexible, funny cast, an amusing situation and a style of movie-making that embraces every happy, nasty accident make this if not the funniest, then certainly the most uncomfortable comedy of the summer.

I Am Love is a cinematic orgy, a sensual Italian feast of food, sex, guilt and grief. An intimate, quiet and even slow movie, its subtle shadings veil turbulent emotions.

At two hours and 15 minutes, the new Karate Kid takes an absurd amount of time to get to that “big match.”

The players embrace this for the lark it is. Their pleasure in going this gonzo spills off the screen.

This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.

It begins with such promise, a kinky modernist twist on a classical sci-fi morality tale. That it degenerates into conventional, genre horror is all the more disappointing.

The mercurial Brand is spot on as the mercurial Aldous, putting over outrageously titled tunes with panache.

A dull but harmless big-screen comedy aimed at the youngest movie goers.

There’s nobody delivering the laughs in this arid action comedy.

A ditzy film that offers more evidence that good actors, good action and one-liners don’t solve the one thing missing in every movie video game adaptation – a story that makes sense.

Survival of the Dead lacks the wit of "Zombieland," the polish and punch of last winter's "The Crazies," a remake of a Romero zombie picture from the '70s.

An intricate and daft tale of love, family and revenge.

If “the gals” have to bow out, at least they try to do it in a sprint -- in their Manolo Blahniks. It’s a pity nobody told them you can’t run in heels -- in sand dunes.

Forever After still goes down like warmed-over porridge. You don’t have to be Goldilocks to think that this time they’ve cooked their Golden Goose.

Kilmer makes a worthy, if somewhat underscripted villain. And some of the bits -- MacGruber idiotically setting traps that the bad guys never fall for -- tickle. But this still feels instantly dated, a "Hot Rod in a Role Models" era.

It’s a darned entertaining way to get a handle on a sport that can seem like a bunch of cars doing circles for a crowd that seems most interested in seeing that next epic wreck.

A dark and brawny version of the Robin Hood legend that anchors itself in English history and loses some of the merriment in the process.

It has humor and a touch of charm, but plainly needed more love, more passion, more Shakespeare.

It's light in tone, feather-weight. But there aren't many laughs in it.

A movie franchise can only take us by surprise once, and by that measure, Iron Man 2 is a preordained letdown. But so much of what gave the first film its gas — is still here.

Director Thomas Balmes and his editors find moments of humor in “discoveries” or the unfettered urinating of a baby brought up without diapers.

Jackie Earle Haley, the fans' choice to take on the role of Freddy Krueger in the remake of the 1984 boogeyman blockbuster A Nightmare on Elm Street proves stunningly, rousingly…adequate…for the job.

On the sliding critter-comedy scale, Furry Vengeance falls somewhere between the Chipmunks and the Chihuahua (the one from Beverly Hills).

Caine is magnificent. This is not some laughable Stallone-boxing-at-60 exercise in vanity. He's an old man playing an old man, but one who lived through experiences that both scarred him for life and prepared him for his final test.

The movie is a stupid, over-the-top comic-booky action picture with the occasional cheesy effect, oddball casting and an utterly predictable get-that-guy-before-he-gets-us plot, but Evans and a couple of his mates make it passable entertainment.

O’Loughlin is the very definition of comic dead weight. Imagine making Greg Kinnear carry half of "Baby Mama," or sending Tina Fey out with Matthew Fox on "Date Night" and you’ll get the picture.

The wow factor alone makes Oceans a great Earth Day/Earth Week at the movies.

An awkward blend of ultra-realistic violence, boundaries-bending satire and low comedy.