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.

Pheonix is smartly-constructed enough that non-acolytes interested in checking out Harry's world won't need too long to catch up.

Angela Bassett is great as his strict, single mother; The soundtrack is great, of course, and the ending features moving archival footage of the streets of Brooklyn after Wallace's murder.

The Broken Lizard guys don't so much send up a genre as inhabit it, and subvert it from the inside.

It's a slight story to be sure, but the pleasures of Mrs. Henderson Presents lie less with the narrative and more with the film's tone and the dynamic duo of Dench and Hoskins.

It's churlish, especially these days, to try to split the difference between an immortal comedy classic and a mere laugh riot.

It is trim, fast-moving and often quite funny, particularly in the exchanges between Ferrell and Heder -- the former's trademark clueless oafishness meshes nicely with the latter's alternating current of petulance and sweetness.

The result is enjoyable and frequently affecting. The one weak note is Douglas' performance — he does more than phone it in, but his essential Douglas-ness makes the character less believable than he might have been.

Miracle is definitely exciting, and it’s family-family to boot. Take the kids. They may not buy the "any dream is possible" stuff, but if nothing else, the story might pique their interest in American history.

Marie Antoinette churns a symphony out of a single note, too light and hermetically sealed in the minds of Coppola and her queen to transcend its artfully cared-for fluffiness.

It's goofy as hell but devilishly smart about it, which is why it's such great fun.

Understated, quietly amusing, and steadily paced.

It's worth noting that Oliver Twist will likely be no Harry Potter at the box office, due in no small part to a lack of bombastic special effects and supernatural subplots, yet it's nearly as entertaining, even without the wizardry.

With the careful timing and nuance of a master actor, Sharif turns a two-dimensional sketch into the film's most absorbing character.

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.

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.

It's a brisk and lively getaway with genuine personality.

Red Eye packs only about 15 minutes of solid scary, but really, that’s about all the time a human heart can spend lodged in one’s throat.

The result is an exhilarating narrative.

Some viewers will wonder what exactly it is they are supposed to be laughing at, but those that do find themselves on the movie's wavelength will enjoy its observational approach to comedy.

Right off the bat, Catch a Fire distinguishes itself from other recent international productions about Africa (including The Constant Gardener and The Last King of Scotland) in that it is actually told from an African perspective.

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

A sweet, watchable little film.

Although the science fiction element had the potential to drag the story down, it's kept to a minimum and left somewhat buried in techno jargon.

The movie has a lot of good bits and terrific performances, including a too-perfect Keanu Reeves as a mystic orthodontist.

Whitaker's Amin is the kind of raging lunatic that only an actor who has made a specialty of quiet caginess could pull off so convincingly. It's great, and scary, to see Whitaker turn it up to 11 for once.

Year of the Dog would have benefited from a stronger hand behind the camera (White's general aesthetic basically involves cribbing heavily from Wes Anderson and Jared Hess), but as a showcase for Shannon, it ends up being strangely moving.

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