Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

Shooter does what any good thriller should accomplish - it thrills. It's fast-paced, energetic, and doesn't follow a path that seems pre-ordained from the beginning.

After this disgrace, it's time to shut the hills' eyes for good.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

Pride has little to be proud about.

It's tough to make a good tearjerker - one need look no further than this misfire to understand why.

Knowledge is not always a good thing and observing how one individual handles this unusual fantasy-tinged situation provides enough compelling drama to make Mark Fergus' debut feature a source of suspense, intrigue, and philosophical musing.

What is missing in depth and philosophical intent is compensated for with humor and humanization.

The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.

300 may not offer masterful storytelling in a conventional sense, but it's hard to beat as a spectacle and that makes it worthwhile viewing for all but the most squeamish of potential audience members.

The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.

The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.

Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

Ricci's performance is brave and effective - the most provocative in a career that has rejected Hollywood norms.

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

Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.

It's disappointing that so much talent has been assembled with so little to do.

A mildly enjoyable romantic comedy.

Breach is competently made but, aside from Cooper's performance, there's nothing here worth getting excited about.

This is easily the best family feature of the early year.

With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

Music and Lyrics is frequently appealing, often witty, and occasionally funny, but it's not going to convert skeptics and cynics into sentimentalists.

The funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.

It's crass, cruel, and borderline offensive, but the laughs that could redeem all of that are missing. Material as bad as the tripe that comprises Norbit can be endured only if there's a payoff. In this case, the point seems to be that some actors will do anything for a buck.

Despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.