Ultimately, the movie is about finding contentment during tough times.

It is a pretentious and incoherent blend of ghost story and frontier adventure that becomes more preposterous and idiotic with each passing scene.

The surprise of this locally produced, stylized documentary is that it could leave you wishing it had told a little bit more.

Cements director's place as mob-movie master.

Hot Fuzz is something all too rare in movie comedies: a story rather than a string of disjointed skits, with hearty characters behind its caricatures.

It is a fairly routine exercise in New Millennium movie mayhem.

It's occasionally quite witty, it's able to tell us a great deal about its characters and their back stories in an economic fashion and its plot swings are surprising and compelling.

Most of this is harmless enough, but Kasdan's Hollywood logic is simply too implausible.

Far from his best work ("Le Placard," "Le Jaguar"), but even off-form Veber has its moments of inspiration and the movie is definitely worth seeing.

It's a taut, unexpected study that asks many questions about retribution and redemption.

At best, it's an inspired piece of free-association pop art held together by sheer momentum, at worst a noisy mess of juvenile nonsense passing itself off as a movie.

It's a tedious experience in almost every way: The acting is numbingly one-note, the CGI work is unconvincing and often downright shoddy, and the action is poorly staged and framed so close you can never tell for sure who is lopping off whose head.

Cliched, mostly routine and never especially satisfying.

The script is undone by confusing romantic developments, a convoluted murder mystery and a facile and maudlin resolution.

It's more clever than smart, but Paul Fox directs with the same easygoing attitude of its slacker hero and finds some modest truths (also lower case) behind the props.

The curious character study is a comedy in a minor key, but for all White's fascination with Peggy, he brings little conviction to the healing message under all this creepiness and social awkwardness, beyond what Shannon brings to the role.

The battery of startling shock cuts can get repetitive and the plot has a few potholes, but the palpable atmosphere of vulnerability keeps the drama knotted in tension and the audience rooted to the teens in peril.

The mock trailers are for impossibly schlocky Z-movies with titles like "Machete," "Don't Scream," "Thanksgiving" and "Werewolf Women of the S.S." They're by far the funniest part of the program, possibly because they're mercifully brief.

Assuming the bulk of what we see is factual, it comes off as a gripping docudrama.

There are no surprises in this match, but director Fumihiko Sori makes the games visually thrilling.

A pointed satire of the dumbing down of network TV with a sour tone and a broad execution.

For genre fans, the horde-of-locust sequence may alone be worth the price of admission.

The unchecked enthusiasm of McGinley as the touchy-feely renovation guru gives slow-burn Cube the perfect foil and mellows the malicious comic tone. The rest is pure slapstick.

This larger-than-life cartoon of a trained dog has more character than the two-legged co-stars.

A highly original and progressively riveting personal adventure.

Fans of figuring skating will enjoy much of the silliness, however, because its better moments have fun lampooning all the hoopla that surrounds the sport and there are cameos from the likes of Dorothy Hamill, Nancy Kerrigan, Brian Boitano, Peggy Fleming and Sasha Cohen.

More of a leisurely paced ensemble character-study than the slam-bang traditional action gut-buster that its trailer seems to promise.

Like a surprising run of recent movies, Meet the Robinsons is based on a picture book (William Joyce's "A Day With Wilbur Robinson"). Unlike most of them, it achieves liftoff.