There Be Dragons is tethered to the earth by a tangled plot, wooden acting and the heavy burden of healing old wounds.

Amid other wedding movies crowding screens these days, not to mention Perry's "Madea's Big Happy Family," Jumping the Broom feels instantly familiar. And tired.

Imagine an opulent movie palace that was 30,000 years old, with posters preserved on the curving walls and the bones of the Stone Age patrons peacefully sleeping in the fairy dust. That's essentially what archeologists found in a French canyon in 1994 and what Werner Herzog brings back to life in the extraordinary documentary Cave of Forgotten Dreams.

Although it starts slowly, the accumulated tension and thematic resonance leaves us breathless.

Doesn't break any new ground, but it is a decent way to spend a girls' night out.

With its references to other properties in the Marvel universe and to classic tales of redemption, this no-surprises summer movie might appeal to those who've been bitten by radioactive spiders or the Shakespeare bug.

It's got a grown-up artfulness, but Winter in Wartime could become a lot of boys' favorite movie.

Although the choice of interviewees skews the movie in a New Age-y direction, there's less pseudoscience and more heart than in the kindred documentary "What the Bleep Do We Know?"

A fairy-tale teenage romantic comedy that makes "The Breakfast Club" look edgy. And that's just fine, because this Disney product does straight-laced fairly well.

Mostly "Hoodwinked Too" is playing to young video gamers, with overblown action sequences and slangy 'tude.

Fast Five represents Yankee ingenuity of the brutally stupid kind.

Builds beautifully from a farcical premise that requires a suspension of disbelief to a musical climax that washes away our cynicism in a wave of honest tears.

Because we don't know or care much about the characters, this Israeli film never fulfills its potential as either an absurdist comedy or a humane drama.

The most rewarding way to watch Water for Elephants is to focus on the sideshow of costumes and craftsmanship, because the romance in the center ring smells like trained animals going through the motions.

Don't be late to this homecoming of director Wes Craven and writer Kevin Williamson's horror series, which begins with a twisty opening sequence that's bloody fun.

This melodrama about spousal abuse and honor killings might be too grim to bear, but Kekilli keeps it centered.

The libido and bloodlust flowing from the pint-size Page is the funniest thing in the movie, but elsewhere, the mix of the goofy and ghastly is hard to digest.

Notwithstanding some allusions to "Lady and the Tramp," the characters and their comic high jinks are nothing special, but the the getaway gives us spectacular 3-D images of the city.

The few Jewish characters are cartoonishly evil, but even the Palestinians are sketchily dramatized or, in the case of a terrorist, clumsily legitimized.

Instead of entertaining us, director Robert Redford offers us a handsome history lesson that's as dry as a hardtack biscuit.

Call it "On the Lakefront." Or "Pretty-Good Fellas."

It's an original that plays as if it were based on a novel.

Beauty comes to us unexpectedly. That's the message of Poetry, a Korean movie about an aging housemaid that turns out to be one of the best films of the year.

A good nature film - and a great technical achievement.

It's a compelling tale of surf and survival.

As the highly focused Hanna, Ronan - who had a breakout role in "Atonement" - is simply brilliant.

With such a thin excuse for a leading man, Arthur is a dud.

As popcorn entertainment, it's right on schedule.