Tron: Legacy will only be enjoyed by men in their thirties and early forties searching for a Proustian moment.

Overall, Harry Potter and the Deathly Hallows – Part 1 is a harrowing and substantial set-up to what promises to be a climactic final chapter in one of the most popular and successful move franchises of all time.

The pretentious title might be trying to make a statement about the new, fast-moving economy. It's also a weak reference to the first Wall Street. But mainly, no, it's just pretentious.

It's the kind of smart, stylish, entertaining and grown-up movie that the studios are making less and less of these days.

It does deserve points for casting and some clever humor, but falls short of the classic high school movie canon.

One suspects the truth will only be revealed if or when Phoenix starts acting again. Certainly on this evidence, he's no great shakes at hip-hop.

Machete is exactly what you expect. There's ridiculously over-the-top violence, plenty of nudity, and lots of grisly humor. It's mostly enjoyable, but isn't likely to be anyone's top 5 anything.

There's never any real danger in the movie, which makes The Expendables feel like one of those chummy Rat Pack flicks that were just excuses for a bunch of pals to get together and goof off.

Scott Pilgrim Vs. The World, most intriguingly, nails what makes video games so much fun.

Ultimately, the reason Charlie St. Cloud loses its momentum is because a love triangle between a grieving man, a beautiful woman from his past, and a spectral shade is just too strange.

As Jolie's closest professional confidant, Liev Schreiber is his usual excellent, formidable self.

Inception is one of the best sci-fi movies of the new century, a mind-bender about dreams as public spaces.

This booming, cartoonish confection is a transparent attempt to take a property Disney owns rights to, and to try and create a Harry Potter-like franchise.

Predators biggest failing is that it manages to make its sci-fi violence absurdly boring.

The credits may be silly, but the last scene is a definite tear-jerker.

Jonah Hex tries to hedge its bets too much, and the result is a movie that probably won't please the few faithful with Jonah Hex bedsheets, nor fans of mindless summer action flicks.

At the very least, Cyrus forces one of these man-children to face a younger version of himself, and find a grown-up compromise.

The actors in The A-Team are all excellent, and they save a movie that routinely defies logic and physics Liam Neeson brings credibility and gravitas to any role he plays, but as "Hannibal" Smith, he swaggers like a paternal Han Solo.

The flick is driven not by special effects or outrageously gory acts of violence, but by its characters. Adrien Brody and Sarah Polley reinvent the crazy scientists playing God, turning in performances that are charming one minute, petulant the next, and ultimately, compellingly hubristic.

If "Sarah Marshall" spawned Aldous Snow, maybe there's room for a Sergio Roma vehicle?

Sarah Jessica Parker’s Carrie should be a cautionary tale of perpetual adolescence; her character should be out dating any number of Hollywood’s graying beer bellied frat boys. But no. Instead, we are asked to identify and sympathize with a person who gets everything she wants, but complains anyway.

MacGruber is crude. It’s obscene. The dialogue is puerile and the jokes adolescent. And for the most part, it's hilarious: a bawdy riot drunk on impropriety, which is why the movie works.

The movie suffers from convoluted plots, turgid pacing, and strange disrespect for its source material.

Like the original, Iron Man 2 is a good time from start to finish.

Irresponsible, morally murky, and batshit insane--in other words, Kick-Ass might be the most fun two hours you’ll spend in a movie theater. It delivers the darkly comic laughs (the movie is clearly not taking itself too seriously, so you should do likewise) as well as the jaw-dropping action, but Kick-Ass’s real accomplishment is bringing back the winkingly crazy Nic Cage we used to know and love.

Why John Cusack stopped doing this kind of movie remains one of the late-20th century’s great mysteries. Teaming him with contemporary comic vanguards Corrdry and Robinson is equal parts welcome and unexpected as the three relive the social, sexual, and Soviet fears of the era.

It’s not cynically bad, it’s simply a case of movie malpractice.

It's at times implausible and heavy-handed, but thrillers need villains and it's not like the Ba'ath Party had an exclusive license on 'em.

A charmless, vandalized version of a classic.

When your movie is nothing more than a cheap and uninteresting homage, best not to call attention to that fact with a ten minute opening scene to that effect.

Isn’t like a lot of modern horror movies. It’s not about torture, or dead children, or weepy vampires with great hair. It’s an attempt to reinvent the monster movie, which we're all about. It’s too bad it couldn’t have been contemporized. Period movies can so easily become parodies of portentousness, and that’s what happens with this one.

Chris Columbus, true to his namesake, has chartered new waters of lazy hackdom with this "Clash of the Titans" remade as a CW tween soap.

Apart from feeling misled by the trailers, it's a decent, middle-of-the-road adult thriller that competently goes through the paces.

It's a captivating story presented with a fresh and artistic spirit, putting a human face on the man behind the theories.

Starts out strong and boasts a convincing picture of the post-war world as an anarchic desert. But it comes to ditch its fun stylization for vague themes of religiosity and morality, leaving you with a disappointingly muddled movie.

A slick, bloody, fast-paced, and ultimately enjoyable B-movie.

Hey, remember “fun”? If you’re sick of the apocalypse and tortured anti-heroes, then you need to see Sherlock Holmes. It’s a blast from start to finish.

This is, simply put, one of the most beautiful movies you’ll ever see.

A smart, brisk, but extremely thoughtful hybrid of star-vehicle and resonant depiction of right-now America.

This might just be a tad too grueling and bleak for everyone’s liking, but it’s a Road that’s definitely well worth traveling.

A lightweight but sincere coming-of-age story.

Those expecting a return to the depravity and menace of Abel Ferrara’s 1992 notorious original will be disappointed.

An often highly amusing comedy in the vein of "Catch 22" and "Dr Strangelove," this lively satire looks destined for future cult status. Great soundtrack, too.

With the global economic meltdown affecting just about everybody, the film is pertinent, hugely entertaining, and, above all, timely.

A comic tour de force from Damon, who gained 30lbs and sports an unflattering moustache as the dishonest and delusional Whitacre. But it’s a performance that never loses sight of the man behind the lies.

There are some very funny parts but this isn’t a typical sports comedy.

A great-looking and smart film. It has enough action, wonder, depth, and action to keep any fan of the genre happy. The sociological undertones here are fascinating as well.

If you are a fan of brainless comedy that willed with bits that seque magically into some semblance of a plot…then The Goods is for you.

This movie’s sole purpose is to make teenage boys high-five each other, and it’s faithfulness to that concept makes the cartoon carnage almost endearing.

The drama aspect is necessary to the story, but it just drags on too long.

Much like the actual summer (the season, not the character), we never wanted it to end.

This is better than your average bio-pic. The dynamic established between the motivation of Bale’s and Depp’s characters is really what makes this film. Kudos also go out to Channing Tatum as Pretty Boy Floyd.

It is unapologetic about delivering what it promises. Bigger battles. Massive explosions. Megan Fox looking hot.

We loved this movie the first three times we saw it, when it was called "Life of Brian," "Wholly Moses," and "History of the World Part 1."

Betty White is what makes this film memorable as Andrew’s grandmother. She steals every scene, and adds the sweetness that a film like this needs.

This is a movie where you WANT to stick around for the credits. The beauty is that you are totally set up for it, and you don't mind one bit. That final sequence ties the movie together in an awesome fashion.

There is also a sense that the filmmakers weren't quite certain if they wanted to make a fun, kid-friendly adventure or a bawdy adult-skewed comedy. Walking the tightrope doesn't work.

Each character has their own story, and Pixar never sacrifices their development just for a happy ending.

Fear not those who worried about Raimi after the last "Spiderman" debacle. There is no musical number here. The tongue is planted firmly in-cheek. The spirit of "Evil Dead" lives on.

Feels like a re-hash.

Despite some laughably silly plot elements, McG has created an overall entertaining movie experience. It's a great kick-off to the summer explosion season.

There are so many facts presented that many of them feel forced and trivial. We were also a little disappointed with the twist ending.

Weisz infuses comic complexity into the ensemble, which is at times genuinely funny.

Predictable, and stereotypical.

We were also glad to see they didn't ignore the humorous elements that made the original so great. Plus, the casting is spot on.

We don't needlessly hate on the romantic comedies, but this one takes the corniness and predictability of the genre to a whole new level.

Fighting is a fun, frank and faithful homage to simple inner-city drama.

The Soloist is based upon a true story, so it lacks some of the clichés that you might find in other made-up tales.

This is a smart script. There is a wealth of twists, but none of them have to beat you over the head.

If you have a propensity for motion sickness you would be best served staying away. This movie is Tarantino on speed, and without focus and style. It is in-your-face and proud of it with no apologies.

In the scenes where Efron isn't on screen, things tend to get boring. Plus, we could've lived without having watched so many scenes where Zac is showing off his basketball skills.

You won't be seeing any stretch Hummers, wild late night parties and 75,000 seat arena shows in this documentary, but that's what makes this so good.

If you are a big fan of country music, you will enjoy it for the Taylor Swift, Rascal Flatts, Billy Ray Cyrus and of course, Miley Cyrus performances.

The random and unpredictable nature makes it an extremely interesting film to watch.

It sticks to what the series does best, mixing souped-up cars with corny jokes.

On the surface, this might look like a typical teen movie, but Adventureland’s talented cast perfectly portrays the self-loathing and strong-minded characters in that transient post-college stage of life.

This is a pleasure to watch for everyone.

When the hits finally do come, they are really only capable of scaring 13-year-olds making their first trip into the horror genre.

This movie was absolutely hilarious, and proved that dating might be easy, but making friends is much harder.

Even the great cast didn’t make following the convoluted plot any easier. And all that jumping around makes the film feel a lot longer than it is.

While the concept is interesting, the whole thing comes off as a rather hilarious, um, disaster.

You might not bust a gut laughing, but Malkovich’s performance alone is worth the 90-minutes required to watch it.

The storyline was actually believable, surrounding a family willing to do anything to save one another. A horror film turned feel-good.

Parents might like the film, but will be too busy explaining the complicated plot to their children to really enjoy it.

This is definitely one to make you feel good all over.

The whole thing works, especially for the non-comic audience. Plus, the music is perfect, especially the opening montage set to Bob Dylan's, "The Times They Are a-Changin."

The controversial subject matter will undoubtedly hit close to home for many people, but a few genuinely uncomfortable scenes will either provoke the audience into serious thought or just cause them to leave the theater angry.

It’s surprisingly funny for another weak "American Pie" rip-off; Nicholas D'Agosto and Eric Christian Olsen make a hilarious pair; If you're under the age of 25 you’ll like it.

Just because it’s less campy doesn't mean the acting isn't awful.

The dynamic between Leonard and his lovers is uncomfortable and not in the good way like Ricky Gervais's dancing.

We actually had the urge to dodge the sea snakes swimming right at us.

The story is creepy fun and 100-percent different than whatever other crap is flooding the February market.

Ginnifer Goodwin gives a standout performance--and that’s saying a lot considering the large cast--as the insecure, neurotic female looking for love.

If you liked the first then you are going to like this one as Clouseau is offensive and outrageous, which is a perfect fit for one of the "Wild and Crazy Guys."

This completely rips off "Heroes," which itself ripped off a great deal from the "X-Men," so no real imagination here...except for the "Sniffs," who creepily track people by smell.

It's tough to get through because it's so slow; the beautiful Kristen Bell, who we love in almost everything, doesn't fit in with a bunch of nerds.

As unrealistic as the talking mannequins, but we’re pleasantly surprised by how good this movie makes us feel.

There’s an over-abundance of dialog that can be downright boring, especially when it’s sandwiched between fast-paced car chases and all-out gun fights.