The funny and powerfully weird Rango is probably the closest I've seen a big-budget, computer-animated feature get to the comic vibe of my favorite Chuck Jones cartoons -- specifically, the Bugs/Porky Western spoof "Drip-Along Daffy."

Ultimately, The Adjustment Bureau shifts from paranoid dystopia to a more hopeful tenor, and that weakens it slightly.

It's woeful as a documentary history -- a real missed opportunity.

The real star is Katz, who has stretched into a longer and more plot-driven form without diluting any of his talents or compromising his personal vision. And the other star is Portland, which is so beautifully and truthfully rendered.

It's a breezy and charming film in all, well-acted, playful and filled with real joie de vivre.

It works as designed.

The ensemble rolls gleefully with the script's twists (which aren't all that twisty, to be fair), and the film piles up laugh after laugh agreeably.

If you believe that, as one interviewee says, "Science is just another story," then these ideas may ring true. If you're looking for actual solutions to global problems, rather than ways to feel better about them, I Am will be a frustrating experience.

Has its heart someplace worthy. But its head -- not so much.

A hodgepodge of bits cribbed from such films as "Centurion," "Apocalypto," "300" and "Gladiator."

An absorbing, entertaining, amusing and wrenching film.

Yet another, albeit sparer, Iñárritu gloom-fest.

Very good Leigh -- maybe even, given Manville's heroic work, great Leigh.

An energetic, witty and altogether well-built martial arts drama that is familiar in many ways but distinguished by its high level of craft, its sincere sentiment and drama, and the forceful charisma of its star, Donnie Yen.

Simple enough for children, deep enough for adults, clever enough for cynics.

Improves on the original in at least one key way: Its lead characters appear to have souls.

While the film is no groundbreaker, it is a paragon of elegance without austerity, and there's nothing like being in the confident hands of a master filmmaker.

Weir is the real deal, and his gifts more than repay the time you invest in the film.

It wallows in misery so much that the two-hour experience ends up being about as much fun as a real divorce.

The result imparts something of the emptiness of Johnny's existence and, if you're not partial to either the fellow or the technique, might very well drive you up a tree.

Has enough kicks and verve to keep the winter blues at bay, at least for a little while.

It's a heck of a character to chew into, and Spacey, never afraid to play a devil, enjoys himself a great deal.

It's a heavy, moody film, mimicking in its form something of the mental state of its central character, which is a nifty trick. But the quality of the craft doesn't draw you in, nor does Gosling's aloof and inward performance.

It's a fine, absorbing work, built with brilliance and without excessive showiness or flash. It feels, in fact, like a classic virtually upon its arrival.

The comic moments are fewer, flatter and far, far less welcome.

A fine, straightforward and engaging film that restores the salt, fire and humor that Hathaway and company drained from their source, Charles Portis' wonderful 1968 novel.

With a self-plagiarizing premise, lifeless performances and a clunky-to-say-the-least screenplay, this star-studded flop is one of 2010's most egregious wastes of cinematic talent.

It's a handsome film, and Bridges is back, but little has been done to deepen the story into a saga, and the leading man, Garrett Hedlund, rivals Bit for inexpressivity.