The film is confusing and awkwardly timed, and it drags.

This sequel is also goofy, also eye-popping - see it in Imax 3-D if you really want to fry your optic nerve - and also weakly scripted. And yet the sheer size of the thing works against it: The effects are absolutely spectacular, but they blow the goofy-cheesy quotient straight through the roof.

This is a cute movie, a kid's movie, and a rather good one.

Ultimately, The Fighter loses its courage and betrays the terms of its own story by fashioning an interpretation designed to please the people it portrays. It does a switch on us, by changing its focus from Micky's character to Micky's career and then pretending it was really about the career all along.

Megamind, it turns out, is a villain to root for.

The comedy never really takes off because it's phony.

Narrated by Lomborg, the movie uses lecture excerpts, clips of terrified schoolchildren and interviews with (mostly) like-minded scientists to get his points across.

Once it gets rolling, Unstoppable doesn't pause for breath.

As is appropriate in a well-crafted and meticulous movie, the acting is strong down the line.

No matter how guilty our knucklehead-protagonist's victims supposedly are, it's difficult to maintain a rooting interest.

An arty, ruminative and slow-paced film that's being marketed as a big ol' alien-invasion flick. Just don't expect an invasion flick.

Waste Land is a film about recycling, but it's far more intriguing than the average eco-documentary.

There are many things to admire about this movie, but the main one is that it doesn't compromise.

Overall, this is a nice introduction to an amiably dour tunesmith who once wrote that "all art aspires to the condition of Top 40 bubblegum pop."

This is compelling stuff, but Lilien is less successful in trying to link Pale Male's story to his own.

The King's Speech is a warm, wise film - the best period movie of the year and one of the year's best movies.

Esrick spent 10 years on the film, and the result is a comprehensive portrait.

There aren't that many songs this time - just a handful, reprised ad infinitum. You get to sing most of them, so I'm sure you've noticed how bland they are.

What Dunham lacks in polish, she makes up for in her ability to observe her generation, with the hardest truths coming at her own expense.

Mocking Tinseltown is a pretty exhausted subject, and even Jaglom, a genuine insider, has a hard time making it fresh.

Suffers from some of the deficiencies common to first features. It is sincere and earnest but the product of an assumption that the milieu itself is compelling enough to command an audience's attention.

It's big, perfectly cast and entertaining in every way, but more than that it feels like a generous public event.

There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.

The third and most uneven film adaptation in the series.

Not a mediocre film. It is, by turns, a great and awful film.

This one is a long, archetypal journey that screeches to a halt a few stops short of its destination.

It's clear by the end that one Ruth Gruber is worth more than 100 pundits fighting about partisan politics.

Denis' viewpoint and sympathies are sophisticated, complex and humane.