When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

A prefabricated example of shoddy workmanship.

The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness.

The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.

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.

There's no compelling reason to see Deal. Everything it offers is familiar to the extent where even though it's not a remake, it feels like one.

To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.

The movie is unpolished, unabashedly un-PC, and takes on as many "sacred cows" as it can uncover in a slightly-too-long 105 minutes.

Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.

This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.

One of the dumbest thrillers to arrive it theaters in a long time.

For martial arts action fans, The Forbidden Kingdom may be the best fantasy story since the genre was opened to a wider audience by "Crouching Tiger, Hidden Dragon."

There's a wit in Segel's writing that marks him as every bit Apatow's equal in this arena.

Of the two timelines, the one featuring the teenage Diana is more involving than the one featuring the adult version. Both lead actresses give fine performances, but Thurman has less material to work with.

Despite having the same title and a similar premise to a 1980 Jamie Lee Curtis flick (kids getting slaughtered on prom night), this is NOT a remake. In fact, it really doesn't have much of a plot. It's basically "The O.C." with a body count.

The main problem with Smart People is that it never breaks new ground. This is territory we have seen tilled to better effect by more perceptive motion pictures.

Despite the predictability of the overall story arc, there's suspense and tension to be found between the credit sequences, but the movie is saddled with an ending that is both improbable and borderline insulting.

This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.

Chaos Theory stumbles from one contrived circumstance to the next, and there's not a moment in this entire mess that conveys any sort of genuine human emotion or reaction.

Likely to bring a smile to your lips and a bounce to your step.

Clooney and Zellweger play off each other perfectly, delivering their dialogue with the rhythm of a well-choreographed dance and falling in love in the time-honored tradition of '40s romantic comedies.

There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.

In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.

As heist films go, Radford has crafted an engaging, if not especially memorable one, with Flawless.

The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.

21 doesn't spin a good enough yarn.

After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.

The "Apatow formula" is pretty simple: raunchy comedy, likeable characters, and a dash of sweetness (but nothing too sweet). Drillbit Taylor fulfills the third characteristic but falls short in the other two.