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.