Aselton gets a lot said in 78 minutes. I think the main thing she says is something never overtly spoken, that life is essentially a lonely experience - even when we're surrounded by activity, and even if we never shut up.

There have been many adultery movies over the years, but Leaving has some aspects that make it different and interesting.

It's a highly entertaining, big-budget, kick-butt kung fu movie, the best of its kind since Jet Li's "Fearless" in 2006.

"Hornet's Nest" isn't the best of the three (that would be the first film, "The Girl With the Dragon Tattoo"), but it's the most challenging.

While the film adopts a sometimes jaunty tone, the fact is that gerrymandering is bad news, assuming you believe that elections should mean something.

Jackass 3D has its moments, but it lacks the ingenuity and hilarity of the previous films - no doubt in large part because of the aging process.

What's much more fascinating and enriching is Eastwood's Olympian vision, the sympathetic and all-encompassing understanding of the pain and grandeur of life on earth.

It's an amazing story, one that would seem too far-fetched if it weren't true.

There's such a thing as smart angry, and such a thing as stupid angry, and after seeing Inside Job, audiences will be smart angry.

The title promises a film that never really materializes: something nastier, smellier, more nihilistic than the skittish morality tale at hand.

The tone is both satiric and serious, zany but heartfelt, and for a while - maybe 20 minutes - all seems well.

Ultimately, Stone is a haunting film about what it feels like to be really and truly lost.

The idea is intriguing - an inflatable sex doll comes alive and experiences the world with wide-eyed innocence - but Hirokazu Kore-eda's "Air Doll" is only partly successful. The film's poignant depiction of human loneliness is undercut by saccharine notes and a drifting tone.

This breezy action comedy is a noisy affirmation that life goes on after 50, that retirement doesn't mean redundancy, and that nobody - young or old - can wear a long cream evening gown like Mirren.

In Secretariat, the fictionalized bits are simple exaggerations - broad, Disneyish adjustments in races and other realities.

As vile, unredeeming and thoroughly unpleasant experiences go, I Spit on Your Grave at least has one thing interesting about it. It's a document of the most paranoid fantasies that urban, Northern people have about a rural Southern people.

Ambles along and has a feeling of randomness about it, but, in fact, it's tightly plotted. Every moment, however seemingly haphazard and casually presented, is keyed to the progress of a young man from lost to not so lost.

The movie's name is Life as We Know It, but that seems incomplete. The predicate's missing. The full sentence should be "Life as we know it is over," i.e., nuked by the sudden and irreversible arrival of a human infant.

To watch Nowhere Boy is to appreciate anew both the anger that drove Lennon and the strength of character it took for him to overcome it.

But make no mistake, whether the movie is fair or horribly unfair - I know nothing of the actual facts and can't make that determination - its portrait of Zuckerberg is a hatchet job of epic and perhaps lasting proportions.

Although this one indulges in unnecessary CGI enhancements, it's still a striking piece of character-driven horror, and it ranks among the more understated fright fests to hit the mainstream in recent memory.

The movie as a whole is a mixed bag, offering up stiff shots of skepticism and a few provocative thoughts on correlation and causality.

Greed is boring.

Among the slapstick, there are musical numbers and a few surprise cameo appearances. In the end, the film leaves you in a dance-happy mood.

Legend of the Guardians sounds as if it were scripted by a team of 11-year-old boys, with too much plot for its 91-minute running time, a script that steals liberally from "Star Wars" and some occasionally eye-roll-worthy weirdness.

Inky-black humor does strike on occasion, and when it does, it's surprising. So is the movie's star, who sweats and shrieks with game intensity and a capacity for discomfort that would impress a Byzantine saint.

The result is a film of passion and ambition, but one whose success is intermittent at best.

An unbearable exercise in provocation.