Never boring. It is, however, frustrating.

Cyrus is affecting, but not in a clean, easily recognizable way. It is funny, but in a warped manner more likely to provoke unease than unbridled laughter.

My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.

As simple and straightforward a movie as one is likely to find in theaters today.

The problem with the film is that that story, hackneyed when it first made it to the screen in 1984, has grown only more tired over the past 26 years.

As it is, it's a passable diversion.

Winter's Bone is a welcome reminder that thrillers don't have to be loud and boisterous to grab the attention and keep it captive.

Splice is as much a psychological thriller and drama about bio-ethics as it is a horror movie. Like the vastly superior "The Fly," it uses gore sparingly; delivering shocks to the audience is a secondary consideration.

Turns out to be the funniest hard-R comedy since "The Hangover."

The real standout is Alfred Molina, hamming it up as a desert entrepreneur who races ostriches and avoids paying taxes.

There's little here that's new or interesting; the movie is for hard-core Romero devotees only.

Micmacs is an inventive romp punctuated by the kind of quirkiness Jeunet has brought to all his films.

The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.

It's astounding how a movie this long could accomplish so little.

Although Shrek Forever After is not as funny or as impudent is its great-grandparent, some of its comedic jabs land solid blows to the funny bone.

Watching this movie, I wished I knew how to use dental floss, a paper clip, and a crumpled movie ticket to break the projector.

Solitary Man gives Douglas a chance to act, not merely posture or show off for the camera. It's some of the finest, least forced work he has done in years.

If this truly is Ridley Scott's preferred cut, he has proven unable to justify the existence of yet another Robin Hood film.

It is sweet and sentimental and embraces the fantasy (although it would have worked better without the treacly pop songs on the soundtrack).

It's difficult to say whether the main problem with Iron Man 2 is that it suffers from too much plot or too little.

The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.

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.

Still, for those who feel that too few movies these days offer the pure bliss of a testosterone overload, The Losers provides an antidote.

This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.

The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.

Death at a Funeral does what a good comedy is supposed to do: generate laughter. The humor gradient is lopsided - the second half, which builds comedic momentum, is significantly funnier than the first half, which is mostly set-up. Still, any such unevenness aside, the overall impression is one of enjoyability.

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.

No one is going to remember the movie in a month, but for Mommies and Daddies seeking a night's break from their children, it's adequate entertainment.