Full disclosure: I saw Monsters vs. Aliens in 2-D. No dorky plastic glasses, no alien ooze flying at my head. More full disclosure: I liked it.

A quietly soulful study of two very different men.

A tepid PG-13 iteration of the already lame 1979 genre classic "The Amityville Horror."

Impossibly charming and impossibly French.

ILYM is the comedy that Rudd lovers have been waiting for since he first charmed us silly in "Clueless." It explores both the dweeby and heartthrobby sides of this guy whose crooked smile fails to mask his social anxiety.

Duplicity zips from one elaborate piece of hugger-mugger to the next. But at a certain point (for me, it was Rome), boredom sets in.

Knowing has about a half-dozen screenwriter credits, which may explain why scenes crash up against one another - smart, stupid, far-fetched, compelling. And the trouble is that Cage walks (or runs) through them all, treating each with the same level of intensely goofy seriousness.

Like Mickey Rourke in "The Wrestler," Malkovich plays a star long past his glory days in The Great Buck Howard, but continuing to do the only thing he knows. The tone of the two films couldn't be less alike, but the story arc of the central characters graphs the same.

Forceful, heart-wrenching stuff.

The best in the latest crop of slasher remakes. Admittedly, that is faint praise.

Curiously, despite Johnson's imposing physique, it's the kids who do most of the smashing and grabbing, right up until the climax, when it's all-hands-on-neck.

Kudos to Clifton Collins Jr., who appears as a dispenser of cleaning products and common sense.

A stagy, arty, and uncompelling account of the Welsh writer and his menage-y relations.

An extraordinary work in three movements about the Sasakis, a seemingly ordinary family. In this unpredictable work, the clan implodes, explodes, and glues itself back together.

This movie will shake your windows and rattle your walls.

So realistic are Phoebe's quicksilver emotions that at first it doesn't seem Fanning is acting at all. That helps to ground the film, which swings seamlessly from the world of grown-up expectations to that of childhood reverie and rebellion.

A movie like Everlasting Moments comes along maybe once in a decade.

There's a lot of rambling and shambling going on in these overlapping stories, often to the point where Explicit Ills no longer feels like it has a point.

Tokyo! is a must-see for the Gondry segment, and a strange, diverting pleasure for the rest.

Harrison Ford - in his best role in years - and Cliff Curtis are the main reasons to see the film.

The 3D effects are of a gimmicky 1956 vintage, with hands thrusting from the screen to give the illusion of reaching out and touching the audience.

Nispel is no Rob Zombie - who achieved something akin to brilliance with his 2007 Halloween remake. What's more, as influential as it's been, Friday the 13th was never that great.

A frightening portrait of corruption, cynicism, intimidation, greed and violence, Gomorrah is tough stuff.

A throwback in style, pace, and storytelling to the 1970s and the downbeat mood pieces of directors like Bob Rafelson.

The footage is spectacular, the colors electric, the life aquatic trippier than anything you'll see in even the most wildly imaginative animated fare.

A macabre mystery for children and a cautionary tale for their folks, Coraline is a yarn - twisty, knotty, taut - about a perennially bored girl whose parents are too preoccupied with work to pay her much mind.

The result is Woody Allen lite, with some deft observations about how the social media designed to bring singles together are actually coming between them.

Level of humor: subteen.