This is an actress (Streep) who can pull off anything -- including a shamelessly kitschy musical.

It's a little sloppy and full of convenient coincidences, but at its best roils with edgy character tensions.

It definitely gives us our money's worth in the sheer volume of its imaginative fantasy creatures and it's that rare superhero-movie sequel that's better than the original.

It's harmless fun, and it makes for an often impressive display of the latest generation of computer-wizardry. But the enterprise is utterly void of substance: instantly forgettable and about as enriching as a rerun of "Johnny Quest."

There's no real wit or cleverness to the script.

The film walks a fine line between contempt for Polanski's crimes and sympathy for his trials and his screwed-up psyche, and it manages both while showing us why he fled the U.S. rather than face the corrupted judicial circus.

Whether or not Garden Party is an accurate portrait of the shadow L.A. culture where the young, pretty and desperate can find quick rent money, this low-budget production never engages with its characters or stories enough to make you care either way.

The film is annoyingly sketchy on Thompson's early years and education, and it spends so much time on his coverage of the 1972 presidential election and his own race for sheriff of Aspen, Colo., that major aspects of his career get short shrift or go unmentioned.

The script doesn't always find the most effective way to the heart of the conflicts and Berg struggles to balance the mix of tones and the conflicts of man and superman, but he never sacrifices the integrity of his characters or their relationships for an easy ending. That alone makes Hancock the most adult of the new wave of superhero dramas.

It's a solid study in paranoia and gamesmanship.

A charmer of a film and a delightful piece of storytelling.

Jolie steals the film from nominal star McAvoy in the wild gunfight and dynamically absurd chase that kick Wanted into high gear. Her wicked moves and seductive smirk brand her immediately as a true believer who really, really loves her work.

And who would have guessed that, in this age of excess and one-upmanship, when bigger is always better, the year's most romantic screen kiss would last a mere two seconds.

Seems like very tame stuff, with little in the way of graphic sex and all the baggage of a run-of-the-mill art-house costume drama.

Get Smart is action movie and spoof and, though it's often a little unbalanced, the ultimate result is a harmlessly entertaining picture.

If you're a Toronto native or a big-time hockey geek, there are enough little in jokes to probably carry you through the leaden pacing and barrel-scraping gross-out humor, but it's an awfully dull ride for the rest of us.

It's an unashamedly old-fashioned and richly visualized evocation of a time when values were key, trust in your neighbor complete, and a way of life that should be simple is made unfathomably complex because of economic hardship.

A thoughtful and often evocative drama of identity and assimilation, but she leaves Nazneen so cocooned in her protective shell of disconnection that we can't connect emotionally.

An unapologetic B-movie.

It may be that the Hulk role was not made for sensitive method actors like Norton or Bana. When '70s TV-"Hulk" Lou Ferrigno made his obligatory cameo, a palpable wave of affection swept through the Seattle preview audience.

It's a twisted but beautiful love letter to a city, not factually correct but emotionally true.

An engaging and generous profile of the fascinating folks who have chosen to live at the end of the world.

It's not an instant classic, but it's imaginatively drawn, full of charming characters, alive with action sequences and blissfully free of the snickering scatology and endless pop-culture references.

Imagine Warren Beatty in "Shampoo" by way of a Jewish Rambo.

The casting also works. As the Khan, Japanese actor Tadanobu Asano ("Zatoichi") is all effortless charisma, and Chinese actor Honglei Sun (as his best friend-turned-enemy) and Mongolian actress Khulan Chuluun (as his faithful wife, Borte) are just as effective.

At its best, The Promotion offers a sympathetic view of ordinary people caught on the hamster wheel of corporate politics.

It's an interesting and eye-opening journey.

It's still primarily a showcase and offbeat star vehicle for Moore. It's a bravura role and she brings it off with a chilling malevolence and a strange, disjointed vulnerability that almost, but not quite, makes her sympathetic.