Unfortunately, bees just aren't that funny...Nor is the odd story Seinfeld and his collaborators dreamed up very inspired.

Politicians, the media, educators, military commanders and a docile public all come under fire in a well-made movie that offers no answers but raises many important questions.

In the sadism-for-thrills sweepstakes, P2 is no "Saw," but it will get young women to clutch their dates for a week or so in theaters before fading to DVD shelves.

It's overblown and extravagant business as usual.

Director Darren Lynn Bousman, who also helmed the past two installments, doesn't deviate from the stylistic formula, which includes grinding industrial music, frenzied editing and a blue-gray color palette.

Less horrific than it is horribly didactic.

Christensen delivers a low-key performance that is ultimately quite appealing, and he's well matched by the beautiful Alba. Olin brings unexpected depths to what could have been a stock role, and Terrence Howard uses his easy ability to project innate decency to excellent effect.

Never really decides whether it wants to concentrate on providing information or sociological analysis, with the result that it fails to fully satisfy on either level.

Very much reminiscent of "Napoleon" in numerous ways only minus the wit, the film is made somewhat palatable by its inherent sweetness and its treatment of typical adolescent angst.

It never hits any erotic sparks, and the aftermath is distinctly anticlimactic. Breakfast is handsomely shot; the settings are minimalist but well chosen. An old, rather questionable maxim says that sex sells. Not in this wan rendition.

For all its playful touches and neat-o nostalgia for nondigital entertainment, the whimsy feels forced.

Cruz's performance deserves to be seen widely, and it should place her again in line for prizes, but the story's pretensions and downbeat mood will not endear the film to audiences.

A disappointing and manipulative look at one family's loss in the Iraq war.

Unfortunately, as rendered here by the average-looking CGI effects, the characters are underwhelming in their appeal, lacking the charm of their previous animated incarnations.

You'd think the team of Rob Reiner, Jack Nicholson and Morgan Freeman might have had the right stuff. Alas, their labored efforts fail to lift The Bucket List out of its flatlining state.

Spectacular photography bolsters this shallow ski movie.

Boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.

While Heigl is terrific, this uninspired romantic comedy is considerably less so.

While Stanford is more annoying than endearing as the self-righteous slacker, the charming Deschanel provides the film with its few moments of genuine fun with her offbeat turn as the wily, put-upon girlfriend.

Shot on sometimes lousy-looking video, it seems unreasonable to ask audiences to pay to see this picture on a big screen. But "Wild West," particularly with a bit of editing, would be a standout on cable, where shoddy production values would be eclipsed by some very funny material and the emcee presence of a sometimes charismatic (and sometimes obviously road-weary) star.

The cast's evident delight might be enough for some moviegoers, but with so much talent and so little modulation on offer, audiences subjected to the onslaught could reasonably expect a higher laughs-to-torture ratio.

Jumper proves disappointingly inert. All the state-of-the-art visual effects in the world can't compensate for spotty plotting and bland characters that prevent an intriguing premise from going the distance.

This "Living Dead" exercise delivers far less monstrosity and a great deal of pomposity, not to mention dull characters who aren't nearly as lively as those dead guys.

Put three old friends in a convertible for a cross-country road trip to a loved one's funeral, and what do you get? Very few surprises, in this feel-good fluff that, despite offering nothing novel, could do well with older audiences who rightly feel that too few films are being made with them in mind.

Mitra, clad in the requisite tight, sexy outfits, conveys a suitable toughness but little in the way of personality, while such distinguished British actors as Bob Hoskins and Adrian Lester dutifully show up to collect their paychecks.

A relatively lame exercise that never achieves comic traction.

Features a fine performance by Angela Bassett, but her work is the sole subtle element.

Clooney, the film's director and star, can't make up his mind how to approach the story. One minute it's a romantic comedy. Then it switches to slapstick, then to screwball comedy before sliding into Frank Capra territory.

After a promising start, this quirky comedy falls flat despite Eckhart's best efforts.

In the end, the gimmick is too risible and its effects on the characters too forced to sustain either suspense or horror.

The film does not stand up to the current crop of music/concert films like "U2 3D," which brilliantly uses 3-D to show the Irish band in concert so as to encapsulate its relationship to its fans, each other and their own music, and "CSNY: Deja Vu," which hones in on the political connection Crosby, Stills, Nash and Young have to their music.

This movie wants to help make things better. But it also -- fervently, and for a purpose -- holds a grudge.

Will please its core audience but won't enthrall anyone over the age of 16. (Even that might be stretching the point.)

Although he makes an amusing comic foil, Spurlock is ill-equipped to either evaluate or report on Middle East foreign policy. His methodology is disturbingly casual and conclusions woefully simplistic.

The picture continuously shuffles moods like tunes on an iPod without ever making any lasting commitments.

Jay Lee's grotesque little horror film makes up for in audacity what it might lack in finesse.

This family film is willing to tackle important issues such as burgeoning sexuality, alcoholism and a troubled home life but does so in a bland and unconvincing story.

Lacks the fresh charm that made their first such an unexpected (if guilty) pleasure.

Too narrowly focused.

A hodgepodge of popular kids' elements crammed into a mishmash of a movie.

Attempting to be this generation's "Risky Business," The Babysitters is the sort of ribald morality tale that manages to feel sleazy and decorous at the same time.

Tarsem and his screenwriting collaborators aren't able to come up with enough interesting justifications for their sudden shifts, and soon the shape-shifting yarn just feels like lazy storytelling.

Much of what is shown onscreen is atmospheric filler, while the various characters describe being made outcasts because of their sexuality while holding on to their commitment to their faith.

The film's chief asset is its superbly atmospheric evocation of its period milieu.

The movie seems more like a '50s science fiction film of extreme paranoia or an episode of "The Twilight Zone" that even at a swiftly paced 90 minutes feels padded.

This is a slap-dash effort whose producers threw money and stunts onscreen instead of the satirical gags and one-liners that made the old spy spoof so memorable.

Eddie Murphy's amusingly out of this world in this otherwise tired vehicle.

The sort of quirky independent comedy that strives for hipness but ultimately just feels contrived and derivative.

A light touch keeps the film from being an ordeal, but the story's trajectory is as predictable as the setup is contrived.

Sergei Bodrov's Mongol relates the story of Genghis Khan's early years in a plodding, uninspired fashion that doesn't bode well for the next two entries in a planned trilogy.

It's all a bit bizarre. One soldier tellingly calls it "one big reality TV show," and the movie never makes clear whether such training does any good.

Overall, the film plays like an improbably skewed but comparatively routine criminal procedural that would have served the original show well as an extended season opener or sweeps-week contender.

What it lacks is a villain, and magic without danger is simply a parlor trick, which is what the film becomes.

Lacks sufficient substance to be of more than quickly passing interest for all but the most devoted fans.

The largely uninspired Clone Wars feels landlocked. In the absence of any extensive innovation, the video game-ready results play more like a feature-length promo for the imminent TV series of the same name than a stand-alone event.

By focusing so narrowly on religious fundamentalists and bigots while ignoring any spiritual dimension to religion, the film is not only being disingenuous but limits its audience to non-believers.

It's a gutsy movie but not necessarily a good one. Its greatest strength is that it wants to talk about what's on our minds right now and not wait for historians.

An awkward mix of proficient 3-D animation, detailed technical recreation and strained storytelling that stalls on takeoff.

An ordinary cop picture boosted by two charismatic superstars but hindered by its dearth of surprises.

The film repeatedly sacrifices dramatic punch for political correctness.

Many of the film's most entertaining moments are, ironically, its most peripheral: Namely, the extensive archival clips of news conferences in which an alternately relaxed and tense Kennedy jostled with journalists

Although the visuals tantalize and the actors providing the voices add a lot of sass, the result is only so-so.

This moderately engaging, offbeat film requires a patience that audiences haven't demonstrated recently for stories concerning the fate of soldiers at home or abroad.

This inspirational sports drama unfolds in such generic fashion that it feels contrived more often than it rings true.

A tasteful melodrama courtesy of the easy chemistry between its two leads and a generally restrained touch from Tony-winning director George C. Wolfe in his feature debut.

Vaguely pitched somewhere between indie-gritty and predictably conventional, the film struggles to strike a manageable equilibrium, much as its characters attempt to navigate the prospects and pitfalls of a footloose life overseas.

Blindness is provocative cinema. But it also is predictable cinema: It startles but does not surprise.

It's also solidly constructed throughout and the acting is impeccable. The problem is that it just lumbers along for two solid hours, never rising to any significant emotional or philosophical heights.

A feel-good tale with undeniably good intentions, this Canadian comedy-drama doesn't really manage to convince on any level.

Stalls at the intersection of fantasy and science fiction.

Alternately compelling and dramatically limp, the film scores points for exploring unfamiliar territory but lacks the emotional depth to make some very strange behavior believable.

Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.

The result unfortunately has the blandness of a mediocre TV sitcom.

This would-be cult film is unlikely to inspire "Rocky Horror"-style devotion.

Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.

Despite the best efforts of stars Keanu Reeves and Jennifer Connelly, this new "Day" is tired and corny.

Michelle Williams does her best but she cannot prevent Kelly Reichardt's Wendy and Lucy, a weak tale about being broke and on the road in rural America, from dwindling into boredom.

The actors do what they can with the cards they're dealt but can't overcome the nakedness of the dialogue or the characters' actions. Duke does ensure that the production flows smoothly though. And those frequent injections of comedy do wonders.

It's a pretty lazy film in the creativity department save for the dogs.

A formulaic yet clever chiller that offers generous doses of sex and violence aboard a luxury yacht.

The film is still cheesy rather than deliciously scary. It never really generates sustained suspense.

The film does not lack for ambition both in terms of its themes and artistic design. Consequently, his (Jenkins) feature debut, while not flashy, shows promise. Clearly, here is a young filmmaker who wants to tell stories rather than deliver shocks and sensation.

All of this results in way too much relationship chatter and not nearly enough comedy, romance or even dysfunctional relationships. We want to laugh -- but at what?

It's business as usual at Camp Crystal Lake, with very little in the way of fresh jolts or an innovative visual style that would have really revitalized the hokey franchise.

A romantic comedy depends, of course, on the chemistry between the leads, and here the film is more successful. Both Heigl and Butler find the appeal in very flawed characters.

For all its staleness, the melodramatic main story does contain enough good acting and resonant scenes.

The film simply has too many tiredly predictable elements for its own good, and despite the handsome cinematography of the extremely picturesque California locations, "Sherman's" never really finds its way.

Although it's refreshing that Alien Trespass doesn't indulge in the sort of mindless, gross-out humor that afflicts so many current cinematic spoofs, it errs too much on the other side, offering mere pastiche instead of witty satire.

Barring a Terry Zwigoff return to "Bad Santa" territory, it's hard to imagine a filmmaker embracing this dubious hero to the extent writer-director Jody Hill does.

Works better than you might imagine at times but stumbles awkwardly other times. The unevenness in the writing is matched by directorial overkill in certain comic sequences.

Follows the same formula as the first, with one difference: They've managed to ramp up the action and vulgarity beyond the insane heights of the original.

Ruins is sometimes as sunny as its locations but as familiar and predictable as a Greek diner.

Efficient enough to attract a cult audience.

This blood-soaked melodrama -- a far cry from most foreign films -- has been a festival favorite and might well develop a cult following, though it's far too gory to reach beyond the core audience.

Surveillance will please the B-movie crowd in theaters and on into the ancillaries

Pretty much any sign of creative life gets left out in the cold in Ice Age: Dawn of the Dinosaurs, the monotonous, strictly by-the-numbers third edition of the wildly lucrative digitally animated franchise.

The mixed-gene pool of talent doesn't quite jell, but a saving grace is Korean sweetheart Jeon Ji-hyun.

There's seldom a dull moment -- but nor are there any that allow viewers young or old to invest in its elite team of furry characters to any satisfying or lasting degree despite the presence of an energetic voice cast.