After The Hurt Locker (which is without question the most exciting and least ideological movie yet made about the war in Iraq), everyone will remember Renner's name.

The reductio ad absurdum of a summer blockbuster. It is loud (boom!), long (two and a half hours!), incoherent (poorly explained intergalactic warfare!), leering (Megan Fox in short shorts!), racist (jive-talkin' robot twins!), and rife with product tie-ins (Chevy! Hasbro!).

I have a certain affection for this movie, if only because of its conceptual simplicity.

Most disheartening of all is that, after shooting four films in a row abroad, Allen seems to have lost his feel for New York locations.

It's easy to imagine why Pelham's producers wouldn't want Scott's professional but dull picture to be compared with the 1974 classic.

This kind of "one crazy night" tale relies on drum-tight structure to work. Without it, The Hangover sputters to a sentimental halt. Still, it's worth staying for the closing credits.

Away We Go is like a disappointing term paper by a promising student.

Land of the Lost is an enjoyable regression to Saturday mornings gone by, as junky and sweet as a strawberry Pop-Tart.

Up is Pixar's most ambitious attempt yet to take animation to higher (and deeper) places than it's been before, and Giacchino's sprightly music keeps the whole thing, impossibly, aloft.

Brilliantly nasty little horror film.

Though the result is thematically slight, it's structurally sophisticated enough to reward a second viewing (or at least, unlike Grey's previous work, to be watched all the way through).

A good summer movie isn't just an uninterrupted crescendo of cacophony. You need stuff IN BETWEEN the fireballs and the cyborgs.

In its last 20 minutes, Angels does attain the status of good bad movie, with a transcendently absurd climax that's great fun to rehash later over burgers.

Like Anderson, Johnson has a fine eye for color, great taste in music, and a knack for painterly compositions, but the world he creates is airless and ultimately empty.

Management remains for the most part as endearing as its leads. Steve Zahn is a wonderful actor who's spent too long in the "hey, it's that guy" best-friend role.

Carlos Cuarón's screenplay is rambling and unstructured but full of vibrant dialogue. As in "Y Tu Mamá También," the insults the two leads hurl at one another are creatively filthy.

Retains the original Star Trek's spirit of optimism, curiosity, and humor.

This beautifully shot and painstakingly constructed film is a self-indulgent bucket of hogwash.

Even by the standard of a fourth-in-a-series summer blockbuster, Wolverine, the first X-Men movie directed by Gavin Hood ( Rendition), is remarkably lame.

It's a handsomely mounted spectacle with moments of bravura acting that nonetheless feels labored and dull.

It's a movie that's thought-provoking without being intelligent and candid without being truthful. The same aesthetic choices that Toback seems convinced will set his documentary apart are also what diminishes its credibility.

After a bracing first hour, State of Play defaults on the most basic promise of the conspiracy thriller. Instead of luring us down an ever-darker and twistier path, it strands us in a tedious and ill-designed maze.

The director, Sacha Gervasi, is a fan first and a documentarian second. If Anvil! has a flaw, it's that it's too enthusiastic, a reverently uncritical valentine to the director's adolescent heroes.

What's meant (I think) to be a "f*** you" to action-movie conventions reads instead as a "f*** you" to the audience. Observe and Report tickets should come with a free breath mint, because however hard you've been laughing, that ending leaves a seriously bad taste in your mouth.

Has the note-perfect melancholy of a classic young adult novel.

The most remarkable thing Sugar does is give American viewers a sense of how our country must seem to a newly arrived immigrant, without caricaturing or condescending to either guest or host.

The richly multilayered picture tends to have a gently immersive effect, akin to a stroll through the world's most expensive diorama.

A film of great intelligence and quiet assurance, Goodbye Solo exhilarates without ever trafficking in easy uplift.