Roughly an hour in, Transformers 2 morphs from teen adventure into lumbering war movie. Bay and his screenwriters squander their human capital in order to show us scenes of 20-ton toys crushing 10-ton toys.

Dopey but resourceful yukfest.

Hilarious fun.

A wise, wistful study of hope and dread.

What's a fish-lover to do? For starters, know where your fish comes from. Don't consume endangered species. After watching this film, you may never want to eat fish again.

Easily one of the loosest, most satisfying comedies to hail from the prolific writer/director in a while.

Washington offers another of his rock-steady performances, playing a career civil servant with a couple of secrets of his own, but confident, diligent, ready to go the distance for the city he loves.

It's not a pretty picture. But Food, Inc. is an essential one.

While Imagine That falls short of its feel-good aim, its feel-nice vibe is a good Father's Day diversion for Dads and their spawn.

Moon is a deceptively simple study of alienation, paranoia, and loneliness.

The result is visually inventive, narratively edgy, and unlike anything else.

The Hangover pushes the boundaries of good taste, good sense, and good will toward man. And you'll feel good about it all.

Summery and scenic, Ruins is this season's "Mamma Mia!," a diversion that dispenses the wisdom: Let go, let live, and let love. Not bad advice, and not a bad movie, exactly.

The unassuming performances by Krasinski and Rudolph help make this the first Mendes movie that feels lived-in rather than staged.

Not exactly a hundred million dollars' worth of classic comedy.

The rare movie that manages to convey the inner soul of an artist.

Tennessee is drenched in melancholy, a trip through a tunnel of pain illuminated by a lone ray of light at the end.

The exhilarating film pays tribute to Buster Keaton's "The Balloonatic" by way of its slapstick, and to Hayao Miyazaki's "Howl's Moving Castle" by way of its watercolor palette and traveling domicile.

A Raimi-esque mix of gross-out madness and sick laughs.

Yojiro Takita's movie simultaneously tickles tears of mourning as it wrings laughs about the meaning of life.

A heart-grabbing, awe-inspiring work that needs no embellishment.

The more pertinent question: Can the audience stick with this flick that showed most of its funny bits in the trailer? For the most part, yeah.

A deadpan delight.

The problem with NATM:BOTS is that Stiller, Adams, and company seem to be pretending that they're having fun, too.

Moderately compelling and clinical. This isn't "Breakfast at Tiffany's"; this isn't even "Klute."

Full of forced jocularity and drawing-room hissy fits, with its cast parading around in vintage threads and antique cars, Easy Virtue is a close-to-insufferable souffle based on the 1925 Noel Coward play.

A dark-and-stormy sci-fi shoot-'em-up directed by McG, T4 has enough hardware and havoc to satisfy the crowd of action junkies and gamers who sped to "X-Men Origins: Wolverine" on opening weekend. (Terminator Salvation is a couple of liquid metal drops' more satisfying, but only a couple.)

A far sight nimbler than its plodding predecessor, where the Holy Grail turns out to be a Holy Girl. The sequel is a little like CSI: Vatican City.