A medical drama that pays lip service to the healing power of music but never finds the rhythm.

It's supposed to be sweet, but Hop is a headache waiting to happen.

A terrific but uncompromising film that's definitely not for everyone.

An inconsequential mess.

Skarsgard, who is perhaps best known for "Good Will Hunting" and "Breaking the Waves," makes the most of his rich role, imbuing Ulrik with a knockabout charm.

Scabrously funny yet essentially gentle, as the main thing that it's probing is our collective ignorance.

Strikes an uneasy compromise between liberty and justice. It marches at an efficient pace, but there's too much collateral damage to believability.

Rooted in empty materialism, but it never evokes the heady rush of a guilty pleasure or the precipitous payback of a thriller.

Director Dereck Joubert gleans a valuable thread that connects us to these endangered creatures.

The so-so film isn't nearly as good as any of the movies that may have inspired it, or even its own knockout trailer.

Mars Needs Moms is dark for a Disney movie.

Europeans have a taste for both the mechanics of trickery and the machinations of power, and the politically astute Spanish film "Even the Rain" belongs in the same conversation with Francois Truffaut's "Day for Night" and Pedro Almodovar's "Bad Education."

Such a sorrowful attempt to resurrect the marketing magic of "Twilight" that it ought to be titled "Career Eclipse."

Im Sang-soo has crafted an erotic thriller whose cool beauty speaks for itself.

An exhilarating balancing act, at once a science-fiction romp, a paranoid thriller and a philosophical treatise.

Hits most of the markers of a flashback film but not enough of the beats.

Rango is iconic like a spaghetti Western, smart like a '70s conspiracy thriller and lively like a Coen brothers comedy.

Paul Simon and a Parisian orangutan tell us the same thing: It's all happening at the zoo.

Has a welcome message of personal growth and racial tolerance. And it's ably made, with evocative Memphis locations. But in the final sermon, it proffers some plot twists that are supposed to be miraculous but may strike a doubting Thomas as lame.

Like the middle-aged dads in this flaccid fiasco, Hall Pass is a decade behind the curve of what's happening.

To ensure customer loyalty, Hollywood should promote more movies about workaday life in the provinces, but until there's a new wave of midcoast comedies, Cedar Rapids is the big kahuna.

On a minute-to-minute level, it's an engaging mystery, the kind that rewards our participation with eye candy and adrenaline shots. But when we pull back for an overview, we see that it's flat and that pieces are missing.

The cheap, indifferent, teen-alien thriller I Am Number Four delivers none of the spectacle of a competent sci-fi film, none of the emotion of an effective teen romance and none of the giggles of a kitsch fiasco.

Stays too low to the ground to become an animated classic, but if there's a fairer midwinter's tale, wherefore art thou?

It's pure speculation on the filmmakers' part that Gaelic pagans were adorned with bones, blue mud and Mohawks, but the fire-dancing spectacle is a welcome respite from the beefcake of the journey scenes.

Barney's Version has episodes instead of plot, outbursts instead of wit and alibis instead of growth.

As a drama about coping with hard times, The Company Men doesn't come close to being as sharp or entertaining as "Up in the Air" - which starred Wells' "ER" associate George Clooney.

You might expect a cartoon about a man and his dog to be strictly for kids, but My Dog Tulip, based on a memoir by J.R. Ackerley, has a psychological richness and anatomical explicitness that is very grown-up.