The movie is funny without disrespecting its characters. But there is a sadness at its heart, because, although the possibilities for romantic happiness diminish after the age of 65, the dynamics of sexual attraction and coupling never change.

As it turns out, the movie is still very much about two well-dressed undercover cops who strike sexy poses, express plenty of attitude and drive expensive cars and fast boats as pop music plays on the soundtrack and palm trees sway gently in the tropical night.

It's far from his (Allen) career best, but it's funny and he comes off well.

The film lacks the nerve for any genuinely nasty fun or comic bite.

It may be too intense at times for wee ones, but kids of 5 and up testing the limits of their independence in the big world should relate to Lucas, dig the crazy insect world and embrace the imagination behind the colorful adventure.

The language and the landscape is French, but the sensibility and style is unmistakably Eastern European.

The film, despite the occasional gross-out joke, can't disguise the fact that it's a sweet old sappy -- even dated -- love story. Only Molly Ringwald is missing.

It's pretty weird stuff, and filmmakers Keith Fulton and Luis Pepe embrace it with a layer of cinematic gauze that builds a pounding energy to this hypnotic twisting of rock legend.

In remarkably compact and quietly concise vignettes, we're introduced to each member, and immediately understand what they're all about.

Movies about gurus generally fail to capture the charisma of their subjects. French director Jan Kounen's documentary on Amma, India's hugging saint, who allegedly has given restorative embraces to more than 45 million supplicants, is no exception.

This is a film about brave women who left home as teenagers and have been on their own ever since. Now, nearing the end of that road, they face their inevitable decline with a cheerful vivacity.

The attitude is older, maybe a tad sentimental, and as adolescent and reckless as ever. Whether that's a good thing depends on your appreciation for dead-end conversations, geek debates and the Smithspeak sandbox of creative vulgarity.

It comes off as tedious, pretentious, self-indulgent, talky and so garbled it might have been improvised by the actors.

The most imaginative and delightful computer-animated movie of recent years outside of the Pixar brand, Monster House is a Halloween ghost story by way of monster-movie adventure.

It's not terrible, but it's mediocre and not much more than a string of cheesy sex gags.

Jacque's satiric comic take on swashbucklers extends to war in general and particularly to the men who lead their armies.

Yes, in this day and age, a tall man can pretend to be a very short man pretending to be a baby who uses his innocent disguise to molest women and whack men in the nuts. Isn't that funny? No, actually, not so much.

Sporadically enjoyable but instantly forgettable comedy.

The Groomsmen, while as corny as a Staten Island marriage proposal, rings true on many levels.

Disastrously unfunny sex farce.

Another worthy performance comes from Valeria Bruni-Tedeschi.

Verbinski, Depp and company just want to make it the best ride you've had all summer. If that's all you demand of a frothy summer blockbuster, then this delivers the goods.

The film is weirdly fascinating in its own maverick way.

The film's near-fatal flaw is its dialogue, which had to be invented wholesale from the Old English text. It alternates between sounding stagy and anachronistically hip -- with more overuse of the F-word than any two Samuel L. Jackson movies. It's a big mistake.

Rampling is fascinating as Ellen, the aging romantic who hardens her vulnerability with a materialist philosophy regarding the buying and selling of sex. The other two actresses give more superficial performances, with Young totally unconvincing as a Southern neurotic.

The bad news in this kinder, gentler, more subtle performance is that, by playing the woman (Streep) as less of a devil, the dynamic that propels the story loses much of its drive and energy, and what's left is a kind of high-class "Gidget" movie.

The film is magnificently mounted, it moves like a speeding bullet and it's so respectful of Superman traditions that even the pickiest of die-hard fans should love it. After a lapse of two decades, it revitalizes the franchise and makes it seem fresh and alive.

It's Kang's first feature and it suffers from rocky moments and an unsure eye, but his sense of detail is rich with prickly contradictions and he resists tidying up the story.