Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.

There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

Even as a mindless diversion, it's weak.

The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.

Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.

The only arena in which Gulliver's Travels plays an adequate game is in visual effects.

This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.

Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.

The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.

Made in Dagenham is a useful lesson in history and a reminder that we yet have a distance to travel to attain the goal, but the narrative is dry, safe, and predictable and, as a result, not fully satisfying.

Above all, however, Kevin Spacey is the reason to see Casino Jack. This movie will stand alongside "The Usual Suspects" and "American Beauty" as examples of what the actor is capable of accomplishing when he is properly motivated.

The problem with the film has little to do with the central triangle, which is engaging enough in a formula-driven way, but with the myriad uninteresting subplots that dot the cinematic landscape and have the unfortunate effect of padding the proceedings to the point of unwieldiness.

Megamind is largely what one might expect from an animated movie featuring a number of notable comedians in voice roles: an amusing diversion.

They had 28 years, and this is the best they could come up with?

Not without humor, but it lacks the explosive spontaneity of "The Hangover."

a 95-minute thrill ride from director Tony Scott, delivers the right level of adrenaline.

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.

Grim but holds the attention; it does not, however, offer the kind of mindless action excursion that many will be anticipating.

As preposterous wannabe Hitchcockian thrillers go, this one is adequate.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.

Ultimately, the plot (irrespective of how faithful it is to real life) isn't the problem - it's the unevenness with which co-directors Glenn Ficarra and John Requa (both making their directorial debuts) approach it that limits the film's success and mutes the experience of sitting through it.

Despite providing an opportunity to spend 147 minutes in the company of people we have grown to know and love over the years and advancing the narrative toward its final cataclysmic confrontation, The Deathly Hallows Part One underachieves. At a time when Harry Potter should be soaring to new heights, it remains curiously grounded.

A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.