The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

The movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.

One of the year's most uninspired inspirational stories.

Bright, colorful, and exhilarating.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

Generations spends its running length searching for, and never completely finding, its niche.

The comedy is sporadically amusing but never laugh-aloud funny and the drama, which one might charitably argue is trying for a Toy Story-level emotional response, fails utterly. (However, I imagine most kids up to about pre-teen age will love it.)

The material itself is unremarkable and the execution is mediocre. It stands out as often for missteps as for elements that are memorable.

There are no humans in the film and their only participation was doing voiceover work. Of all the recent Disney recreations, that makes The Lion King the most curious.

Although not “bad” in a conventional sense, it’s a disappointingly mediocre effort that doesn’t have a lot to offer potential viewers over age 10. It’s a perfect example of what can happen when a sequel exists simply because its predecessor made a lot of money.

The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.

The Astronaut Farmer is one of those movies that makes an audience want to cheer and clap.

My expectation is that Harry Brown will find its strongest adherents among those who remember Caine in The Ipcress File and Get Carter and are fascinated to explore his take on how that sort of character might have aged.

A shamelessly uplifting motion picture that attains its feel-good status by forging a deep emotional connection between the undertrodden protagonist and the audience.

Probably best skipped - unless you have a penchant for shallow, "comfortable" foreign films that offer obvious messages and never attempt to challenge the viewer.

I enjoyed The Osiris Child enough that, when it stopped with the complete story half-told, I felt a flash of irritation. For that reason, until more is made (if more is made – a prospect that seems questionable at best), I can’t really recommend The Osiris Child.

Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.

It's almost unfair to make the comparison because there are so many fundamental differences, but the closest recent movie to Romance and Cigarettes is "Moulin Rouge." The key likeness is easy to spot: the characters spontaneously break into familiar pop songs.

Liberal Arts is a parfait - a light, enjoyable concoction that goes down easily but doesn't linger. The movie is great "in the moment" but may be difficult to recall with any specificity after time has elapsed.

A rousing tale that combines high adventure with emotional effectiveness. This movie works because it never loses sight of the characters no matter how epic the scope becomes.

There's nothing terribly wrong with Baby Mama but it's probably better suited for viewing on television, where many of the participants cut their teeth. This is small screen stuff masquerading as something bigger.

A thrill-less thriller that uses gore to obfuscate its inability to generate tension, this motion picture has the profile one might expect from a direct-to-video release.

Pride has little to be proud about.

This is a dark comedy; the tone is such that it benefits from Jack Black emphasizing the less appealing aspects of his personality.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

Solid performances from David Duchovny (in a cleaned-up version of his Californication character), Demi Moore (defying age), Ben Hollingsworth, and Amber Heard can't save the movie when the screenplay goes as limp as a noodle and turns into a long string of clichés.

The premise is intriguing and the cast is top-notch but, taken as a whole, The Adam Project comes up short. As a way to fill an unpretentious couple of hours, it’s fine (especially as part of a bigger streaming package), but as a destination film, it’s a disappointment.

Despite the best efforts of Barber the director, he never quite overcomes the shortcomings of Barber the writer.