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.