Comedy-action lunacy of a truly high, and endlessly bizarre, order.

While it's not nearly as beguiling as the Coen's last pic, the uncanny "The Man Who Wasn't There," Cruelty is still a brisk hoot.

Mitchell's energy and occasional ingenuity make Shortbus an engaging viewing experience, provided you can stomach it.

The film is beautifully acted by all, but Nora-Jane Noone, as the sloe-eyed orphan Bernadette, is first among equals here, and a genuine find.

Grab some popcorn and make a pit stop, then sit back and enjoy it. You signed up for a movie about giant robots.

If nothing else, this doc, which one the Grand Jury Prize and Audience Award at last year's Sundance Film Festival, will leave you feeling that the American dream is still alive and well.

It's the details that make Dummy such a winner. By way of comparison, consider last summer's "My Big Fat Greek Wedding," in which each actor put a heartfelt spin on his or her one-joke character (the father who believes that Windex cures everything). Well, here's an entire movie built on nuggets like that.

It's capable and strong direction that hold the audience through the final match, but in the end, it's Paul Bettany's world, and the rest of us are just happy to visit for an hour and a half.

At its best, Mahowny is intricate, engrossing, wryly funny, and strangely poetic.

Much of this story is indeed entertaining: there's a tone of lighthearted mischievousness to the plotting and scheming of an illegal act that is essentially harmless.

Mean Girls depicts the kind of traumatic high school experience that might await spoiled rich girls who grow up in two-parent households with designer clothes and Escalades.

You can't help but see this movie being crafted out of shards of movies past, seemingly in a cut and paste method. In the hands of a less skillful director, the film could very easily flop, but it doesn't.

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.

Michal Clayton shares a number of affinities with Paddy Chayefsky and Sidney Lumet's "Network." Wilkinson's got the so-mad-he's-sane Peter Finch position; while Swinton embodies a sexless, neurotic, overstressed variant of Faye Dunaway's character. Which leaves Clooney as the (considerably younger) William Holden of the piece. And, yes, he makes the most of it.

As science gives way to science fiction, the movie loses its way, squandering time that might better be spent exploring the ocean's floor, where these alien life forms already among us must be seen to be believed.

It's kind of amusing to see slinky Christina Aguilera sing the "Live With Me" line about a score of harebrained children, as she clearly hasn't got the faintest idea of what that means.

More often than not laugh-out-loud hilarious.

By handing the directorial reigns to Louis Leterrier, the Parisian filmmaker responsible for the breathless "Transporter" films, Universal reveals its desire to emphasize spectacle over story.

A sweet, sunny, cinematic song of praise to simple '70s pleasures, Roll Bounce isn't any kind of life-changing picture, but it's breezy, good-hearted fun.

The result is a film that's almost unremittingly bleak, but also consistently compelling.

There are more than a couple of moments in this film, adapted by writer-director Tod Williams from a big swatch of Irving’s multigenerational quilt "A Widow for One Year," that get Irving’s sense of grotesque tragedy and tragic grotesquerie just right

What isn't fair is the film's R rating, which makes this charming coming-of-age tale virtually inaccessible to the audience sure to cherish it most.

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

The film is well-paced and surprisingly suspenseful.

As long as Guggenheim keeps his cameras trained on Gore's presentation, An Inconvenient Truth is an engaging film. Less successful are the scenes where Gore is seen off-stage, traveling around the world and visiting his childhood home.

Imelda Staunton is absolutely astonishing.

Anybody can make a movie that's anti-slavery. But to make a movie that's explicitly anti-democracy-that's something.

For whatever its flaws, Redbelt offers up a good deal of Mametian red meat while also trying to break out of some of the strictures that Mamet's erected around his own work.