"WALL-E" had more charm, more soul, more everything. But there's enough merry mischief here to satisfy, even if you’re way past puberty.

Whatever you think of Dubya, he has balls. The movie doesn't.

Naughty and nice is a killer-hard combo to pull off. Stick with Rogen and Banks. They rock it.

Bummer. The vampires have no fangs. The humans are humdrum. The special effects and makeup define cheeseball. And the movie crowds in so many characters from Stephenie Meyer’s book that Catherine Hardwicke (Thirteen) is less a director than a traffic cop. But there’s a reason that Twilight has already become the movie equivalent of a bestseller: The love story has teeth.

"You're an awfully hard man to like, Hitler." Few serious films could survive a line like that. Max certainly doesn't.

The film goes slack when its screws most need to tighten. Luckily, Smith — flawless in accent and commitment to Omalu's worthy cause — grips you from first to last.

Gibson's acting has deepened. Too bad his comeback vehicle springs so many leaks.

Somehow, The Beach Bum is even nuttier, less logical, more visually beautiful and down-in-the-gutter uglier than the film you just imagined from that description.

Campbell keeps the action cooking and the suspense on a high burner in this compulsively watchable conspiracy thriller, while The Foreigner proves again is that Chan is the Man – now and forever.

[Keaton] delivers a chilling performance, imbuing what could have been a one-note nut case with unexpected reserves of feeling. The acting and direction don’t fill in all the credibility gaps, but they do make for classy, crackling suspense.

It's important to note what Portman the filmmaker is doing here. She is most assuredly not providing CliffsNotes to Oz's book, letting us see what Amos sees and only partially understands.

Minahan wants us to see ourselves in the dark mirror of this outrageously funny satire. He's built the laughs wisely so they stick in our throats.

In his sappiest film since 1989's "Always," director Steven Spielberg has come down with a case of the cutes that the whole cast catches.

An indelibly funny and touching comedy with a real sting in its tail. The laughs leave scars.

Caught in the slipstream between action and angst, Man of Steel is a bumpy ride for sure. But there's no way to stay blind to its wonders.

In a rare instance of truth in advertising, the movie actually is a good time.

The stunts dazzle until you miss the low-key charm and cost-conscious inventiveness of the original. Desperado is best when Rodriguez lets his playful side cut through the blare of a born filmmaker indulging his first chance at high-end Hollywood fireworks.

There are better adaptations of Wuthering Heights, and there are far, far worse adaptations of Wuthering Heights. Yet you will certainly not find a hornier version of this material than Fennell’s fast-and-loose spin on the torrid tale of Heathcliff and Catherine, childhood pals turned paramours who can never truly be together and genuinely can’t keep their hands off each other. It may in fact be the horniest literary adaptation ever made.

A throwback WWII men-on-a-mission adventure marinated in modern bloodlust and movie references, this particularly pulpy take on a Dad Cinema staple couldn’t be more violent and more derivative of past works. It also couldn’t be more of a blast to watch if you enjoy a certain strain of carbon-dated derring-do mixed with cheeky carnage.

The film's major sin of omission: the music.

A hand-me-down cast? Far from it. Masterson and Stoltz possess talent and charm to spare... Wonderful aspires to be little more than the hot-and- happening teen flick of the moment. At that it succeeds.

The Devil All the Time has the pretensions of a mythopoetic story that’s chipping away at a community’s dark underbelly. But here the misery is as belly-up and eager to be noticed as a house cat or a dead fish.

For all the spectacular settings and visionary designs, Cloud Atlas left me feeling disconnected. Sad. But that's the true true.

Hopkins and Mirren are acting pros in stellar form. There's no way you want to miss the pleasure of their company in a movie that offers a sparkling and unexpectedly poignant look at how to sustain a career and a marriage.

The actors can't perform miracles. Hot dogs are served in the final scene, but trust me, Hyde Park on Hudson is no picnic.

How did Cammell convince a studio to back a movie in which Julie Christie is violated by what looks like a copper Rubik's snake? Better not to ask, or to dwell on the film's less savory aspects, and soak in its moments of visionary hysteria, including the pulsating geometry of images borrowed from experimental filmmaker Jordan Belson.

Old isn’t trying to be fashionable, low-fi, artisanal horror of the kind that seems to be setting the tone for the genre in the indie world. This is, instead, a credibly old-fashioned movie in some ways, a creature feature with something more diffuse than a “creature,” per se, a monster movie in which the monster is an unlucky pairing of longitude and latitude.

The pleasures of Dark Shadows are frustratingly hit-and-miss. In the end, it all collapses into a spectacularly gorgeous heap.