Isn't that good. But Moore is.

Mostly about delivering thrills, and chills, and this it does with moderate success and a bunch of fast, no-nonsense edits.

Spurlock's intermittently entertaining travelogue ultimately reveals that people in disparate countries of different religions and wildly divergent ideologies are more alike than not.

A touchy daughter and her feely mom form the emotional axis of Peace, Love, & Misunderstanding, a touching, feeling, touchy-feely series of emotional encounters that generate much warmth in Bruce Beresford's balloon-light family comedy. If it were any lighter, it would float away.

Brosnan, who finds the truth in his character, is quite affecting. And Mulligan, gamely defining a surprisingly undefined young woman, is like a sunbeam piercing the gloom.

Colombiana isn't the last word in action movies, but it's a fun ride. And so wrong.

The closest FF:ROTSS gets to wit is when Johnny convinces a reluctant Reed to attend a bachelor party, after promising the uptight groom-to-be that there won't be any "exotic dancers."

Worthy of mention is Carolina Herrera's design for Bella's wedding dress, sophisticated and demure in the front and Pippa Middleton sexy, and proper, in the back.

If, like me, you were hoping for "Scarface" as a hip-hopera, I am sad to report that Get Rich or Die Tryin' has heat, but not sweep.

For a while, Firewall whips up the accordant dollops of suspense and dread, but it's not long before the timely issue of identity theft takes a backseat to old-fashioned Hollywood villainy, unnecessary (and nonsensical) red herrings, and STUFF THAT DOESN'T MAKE SENSE.

An extremely delicate, quiet, and stunningly understated chamber piece.

Entertainingly creepy.

Not only is there no magnetism between Fiennes and Lopez, he's a lead balloon and she's helium-filled. Happily, their odd chemistry doesn't sink this fairy tale.

Elevated beyond its cutesy contrivances and mawkishness by some extraordinarily good performances.

The obstacles are many, most notably Rookery, a local vampire hunter who looks like a rejected extra from "Mad Max."

A modest and obviously heartfelt endeavor.

An unfortunate collision of earnest coming-of-age cliches and off-key acting, Evergreen almost, and certainly unintentionally, presents itself as parody.

The only likable characters are ebullient Omer (Sam Golzari), a show-tune-loving reluctant Iraqi suicide bomber who comes to the O.C., and earnest William (Chris Klein), an American GI wounded in Iraq, who are mirror images.

The Possession has none of the suspense that made Bornedal's morgue thriller "Deathwatch" such shuddering good fun. And despite the absurdly overwrought Bernard Herrmann-esque score, it has very few genuine shocks.

Frankly, the wow factor isn't that great.

The Paperboy is over-the-top every which way you look.

If the moral of Click is a stop-and-smell-the-roses bromide about how family comes first, the real message of this sappy, potty-mouthed seriocomedy is that a steady diet of Drakes and Hostesses will do you no good.

Murky and grainy, and showing human beings at their grimmest - thievery, rape, betrayal, murder - Blindness is no barrel of laughs. But it IS a barrel of pretentious metaphorical musings.

Blanchett commands the screen as she commands the royal navy. Her unforced majesty makes a so-so film worth watching.

Gritty, jumpy and rife with cliches.

If you can tolerate the redneck-versus-blueblood cliches that the film trades in, Sweet Home Alabama is diverting in the manner of Jeff Foxworthy's stand-up act.

The moral of Taken 2? If you're going on a family vacation, be sure that the human-trafficking ring you put out of business in that far more satisfying and suspenseful thriller from a few years ago doesn't know how to find you.

Aimed at teens and tweens, the almost-squeaky-clean Step Up 3-D shamelessly piles on the corn, stacking it so high that it's bound to tilt over and collapse.