Director Charles Martin Smith presents the kind of movie that gives squeaky-clean a good name.

Buckle up for a bumpy ride but one that a road warrior like McQueen would hitch in a heartbeat.

Christensen plays him with Lecter-like intensity; the unsettling calmness of someone capable of anything.

Warrior is a surprising gut punch, a modern-day "Rocky" saga with two mixed martial arts pugs trying to beat, choke and kick the system.

In addition to being one of the finest golf movies ever, this film raises the bar on faith-based cinema.

The performances are spot-on, with former Tampa resident Morgan Simpson scripting a showcase for himself as Jefferson, and Michael Clarke Duncan (The Green Mile) as the enigmatic stranger, proving again that he's more than just a not-so-pretty face atop an intimidating body.

Curled up at home with the lights off and DVD player running, Don't Be Afraid of the Dark might be passable fun. Spread over a movie screen, the film's modest ambition gets dwarfed by expectations, especially after paying for a ticket.

Certainly amusing, but it never accelerates past one-note characters playing out separate personal crises in ways that aren't surprising.

Conan the Barbarian has its small, insipid pleasures, if you're in the mood.

Some ideas simply work better on book pages, rather than on film where illogic is exposed.

Another Earth is stealthily effective, with silences often counting more than words.

30 Minutes or Less merely puts together actors with only one funny talent each, making them do it over and over again.

For the most part, the performances can raise goosebumps, especially whenever Lea Michele, Amber Riley and Naya Rivera open their mouths.

It's a movie of terrific performances and rousing comeuppances, with a side order of corn pone for the soul.

The Change-Up is the "Human Centipede" of gag-me comedies.

Feels like half of a good movie, much of it revealed in admittedly thrilling trailers.

Wang's high regard for women is intact, plus a keen eye for period detail making the 19th century sequences lovely to observe. But it's nothing we haven't seen before.

This movie, saddle sores and all, is a lot of fun.

I deferred to the wisdom of Grouchy Smurf (George Lopez): "I didn't hate it as much as I expected to. But I still hated it."

There are laughs that stick in your throat, when they aren't broad strokes shattering a forlorn mood that occasionally makes the movie feel like a companion piece to "Magnolia," or any film depicting downbeat people realizing they have more sorrow in common than expected.

Succeeds where "Thor" didn't and the "Incredible Hulk" hasn't, twice. Unlike those drags, director Joe Johnston keeps things relatively simple and pleasantly stupid.

The weight of Carlos' world shows on his rugged face, even with rare half-smiles. This is a masterfully understated performance that should be remembered during awards season.

The movie seldom bridges the gap between education and entertainment, a trait that made "March of the Penguins" a must-see multiplex experience.

It works because Timberlake and Kunis are totally in control of their damaged characters without winking at the audience, as if to say: "Aren't we cute, behaving so naughty?" Their sex is amusingly awkward, and their repressed longings more so. It's the kind of chemistry that comes along once in a generation.

Considering Parts 1 and 2 of Deathly Hallows as a single enterprise, as they should be, this is a rare franchise that just kept getting better.

Buck is a movie to be revisited again and again, like passages from a satisfying self-help book. Riding experience isn't necessary to realize how extraordinary this man and his calling are.

Sure, it's silly without shame, and predictably sentimental. But Zookeeper is the most thoroughly enjoyable movie for the entire family in theaters right now. I can't believe I just typed that about a Kevin James flick with talking animals.

The funniest comedy of degeneracy since "Bad Santa," and a career-changer for Aniston and Farrell if they'll only keep following their perverted muses. Horrible Bosses spins hostile work environments into a movie surpassing "9 to 5" and "Office Space" as the touchstone flick for disenchanted drones.