Baruchel aside, The Sorcerer's Apprentice contains a few minor delights. One is Cage's surprisingly low-key approach to a role that he could be expected to play over the top.

Directors Pierre Coffin and Chris Renaud craft a fun stretch run, wrapping the story with warm, fuzzy funnies and nothing to suggest a sequel, which is probably wise.

As far as unnecessary movies go, Predators is a pip.

What makes Lisa Cholodenko's The Kids Are All Right remarkable also makes it a tad humdrum, which may be the filmmaker's point.

It's a welcome chance to learn more about Lisbeth Salander, the kinky, punk hacker and pop culture phenom played by Noomi Rapace.

The Last Airbender makes the cartoon version with its ratchet-jawed characters and clunky animation seem like a Pixar classic.

I honestly thought Eclipse would be different, after "New Moon" showed stirrings of cinematic life.

What kept me laughing is the genuine camaraderie among Sandler's posse, the way they almost play themselves that perfectly suits this slim material.

Restrepo is about soldiers, not politics. The question of whether U.S. troops belong there isn't posed. Their devotion to duty and each other is unquestioned.

Knight and Day never makes sense from the opening credits. Heck, the title is only half-explained, and not as cleverly as the pun deserves. It's a movie that never gestated beyond the pitch: Glamorous stars in exotic locales, shooting and driving their way to safety through a gantlet of bad guys chasing a MacGuffin.

Toy Story 3 isn't merely the best movie of the summer -- even with summer just kicking in -- but an immediate candidate for best of the year.

Jonah Hex isn't abrupt by design but by desperation.

There's no way to make this a feel-good movie, and admirably the Duplass brothers don't try. Cyrus finds its humor in dark places, through characters bringing out the worst in each other.

What's fun is how the new Karate Kid embraces and vastly improves the cliches, keeping the plot cleverly updated for a generation that never heard of Ralph Macchio.

The A-Team is literally a blast, from the opening credits containing more thrills than the average shoot-'em-up (and more laughs than some comedies), to a climactic orgy of CGI destruction.

In the movie's best moments, Rivers is defiantly obnoxious and forthcoming about the fact that she'll do anything for money. At other times, the filmmakers attempt to make the wildcat warmer and fuzzier.

Coco Chanel & Igor Stravinsky is an elegant scandal almost devoid of true passion, no matter how many times the nude lovers artfully mingle.

Lawrence is in every scene of Winter's Bone, leaving her plenty of opportunity to make false moves. I dare you to find one, in a performance to be remembered during awards season.

It's a refreshing change from run-of-the-kill horror. Nothing in Splice feels done merely for the moment -- it's to creep you out later.

The movie is like an old vinyl LP; the best cuts are on the first side, there's a bangup finish and a lot of filler material in between.

Everybody's cyber-pal Ashton Kutcher is perfect casting for Killers, since the screenplay is shallow as a Tweet and the movie appears to have been shot with a Nikon point-and-click camera he plugs on TV.

None of it is thrilling, but Prince of Persia: The Sands of Time has a Saturday matinee goofiness that'll go well enough with air conditioning.

Quirky to the brink of exhaustion, the latest from Jean-Pierre Jeunet is a live-action Looney Tune complete with Acme contraptions and wily coyotes.

Yes, this is a great time for escapism at the movies. But there's a point at which escapism throws what we're trying to forget back in our faces.

This movie is a last chance to save the series, which it does.

Will Forte plays his pitifully deluded creation to the hilt in a penknife movie. There's a lot of material here that only occasionally succeeds on Forte's insanely focused performance.

It can get a bit redundant but always remains interesting, as young lives take shape on an asphalt oval.

A distinct lack of merriment marks each frame of this film, with Scott determined to erase all fond memories of past Robin Hoods.