From the opening credits -- an animated sequence so crude a junior-high art student would be ashamed of it -- to a climax in which Kate's dog is taken hostage with a crossbow, there's not an ounce of mirth in this parade of ghastly accents, tin-eared romantic montages and dime-store knavery.

Astin's endearingly game performance isn't enough to carry the film, which won't likely see a second week in theaters.

You don't have to be an enthusiast of Bollywood to embrace RA.ONE, but it sure would help.

As novel and absorbing as In Time is in several respects, however, Andrew Niccol's latest conception of an altered but still recognizable future feels undernourished in other ways that are not as salutary, preventing the film from fulfilling its strong inherent promise.

Precise, lucid and thrillingly disciplined, this story of boundary-testing in the early days of psychoanalysis is brought to vivid life by the outstanding lead performances of Keira Knightley, Viggo Mortensen and Michael Fassbender.

A visually dazzling adaptation of the legendary – at least outside the US – comic book series by Belgian artist Herge.

A perfectly diverting romp that happens to showcase some of the best 3D work yet from a mainstream animated feature. Colorful, clever enough, free of cloying showbiz in-jokes, action-packed without being ridiculous about it and even well choreographed.

Deeply felt first-love tale offers convincing performances and a fine-tuned storytelling sensibility.

An earnest tale about a faded rock star who discovers he has a teenaged daughter and takes her on the road, Janie Jones follows a predictable path and despite decent performances it does not catch fire.

A barely warm dish of Cold War leftovers that shows its hand too early, then works itself into an increasingly implausible tangle of knotty plot developments without ever mustering much intensity.

The Rum Diary remains a relatively mild diversion, not at all unpleasant but neither compelling nor convulsive.

Although the screenplay by Vizinberg and Lee Peterkin holds little in the way of surprises, it does offer a taut storyline and complex characterizations.

A lame action-comedy that seems ready made for undiscerning late-night cable viewing.

The movie does say a lot about female athletes and the changing role of women in American society, but in aggressively pursuing the formula, writer-director-producer Tim Chambers is prone to exaggeration and a moralizing tone.

After a five-year wait since "Sideways," Alexander Payne has made his best film yet with The Descendants. Ostensibly a study of loss and coping with a tragic situation, this wonderfully nuanced look at a father and two daughters dealing with the imminent death of his wife and their mother turns the miraculous trick of possibly being even funnier than it is moving.

Although not exactly breaking any new ground with its by now all too familiar found-footage format, Paranormal Activity 3 hews to the formula in expertly crafted fashion, mustering up the requisite scares and then some.

A surprisingly effective debut effort from writer-director Robert Kirbyson.

Sunshine is stretched thin for the big screen. The decidedly art-house film is better suited for television.

Director-writer Chris Paine's upbeat follow-up to his controversial 2006 documentary "Who Killed the Electric Car" features a number of colorful industry leaders in addition to cameos by Arnold Schwarzenegger and Jon Favreau.

Elizabeth Olsen steps onto the radar as a seriously accomplished actor in this mesmerizing drama, which also marks an assured feature debut for writer-director Sean Durkin.

The first-rate cast cannot be faulted. Chandor has assembled an extraordinary ensemble.

Not so much blasphemous as just outrageous for the hell of it.

Being Elmo is a rare documentary that will connect across generations and cultures to delight viewers worldwide for years to come.

Even the most desperately deprived secret-agent devotee will find little to cheer in this yawn-tastic 007 send-up.

Heijningen doesn't display the instinct of the best Hollywood action directors to give the audience what it craves at the big moments, except for a few gory in-your-face shots.

The uniformly winning cast, led by Steve Martin, Jack Black and Owen Wilson, and the ultra-accessible touch provided by director David Frankel provide for a constant steam of gentle mirth, if not huge laughs.

Comedies don't get much more unfunny than Father of Invention, a lame and somewhat preachy comic take on a father trying to get back into his daughter's good graces.

The new film may also serve a purpose by showcasing a dynamic and attractive new actor, Kenny Wormald but, otherwise, this is a by-the-numbers affair.

Williams gets us on intimate terms with one of Hollywood's most enduring and tragic icons. If much of what surrounds her in Simon Curtis' biographical drama is less nuanced, her work alone keeps the movie entertaining.

Like many lab experiments, this melodramatic hybrid makes for an unstable fusion. Only someone as talented as Almodóvar could have mixed such elements without blowing up an entire movie.

Fast and dangerous, Miss Bala is a hair-raising actioner.

Dennis Lee comes up empty. Kids, parents, siblings, an aunt and an estranged wife all bicker and yell, but the noise cancels itself out. The movie is one long argument, tiresome and repetitive, that produces more heat than light.

While this psychosexual twaddle will no doubt have its admirers, it seems a long shot to attract a significant following or herald the arrival of a director to watch.

Genial documentary combines extravagance of Mardi Gras drag with an underexposed story of early gay-rights achievements.

Captures a reunion between them that speaks volumes about the intense connections, complicated and big-hearted, that have fueled an extraordinary musical collaboration.

The film grabs at historical facts, mangles them into a plot worthy of a John le Carré spy novel and takes the viewer on a breathtaking ride through ye olde London.

Nine Muses is clearly the work of a talented filmmaker, and there are many moments to beguile the ears as well as the eyes. Yet it's a long slog through a few thousand years of myth and history, and most viewers are likely to grow impatient during the journey.

Chan has not injected any of his playful charm or physical virtuosity into Wang Xingdong's and Chen Baoguang's insipid, poorly structured screenplay.

The film built around Norman's brazen bit of acting out is uneven -- a strong, fresh first half is followed by a dismayingly earnest second. But there's enough that is winning and sharp to hold you until the end, even as you're disappointed by the direction the film takes.

The actor (Shepard) delivers a beautifully understated, world-weary turn that largely makes up for the slow-paced film's longueurs, and which in a better film could be described as iconic.

Whatever gothic originality the first Human Centipede possessed is altogether lacking in this sorry follow-up.

A sweet 'n' sassy period comedy with a "Juno" sensibility and the soul of a "Little Miss Sunshine," the hard-to-resist Dirty Girl announces the official arrival of Juno Temple.

A just-OK second feature from Ami Canaan Mann – daughter of Michael Mann, one of two credited producers here – and the latest outing for "Avatar" and "Clash of the Titans'" Sam Worthington.

This punishingly predictable tale will test whether sci-fi action fanboys can stomach having their cherished genre infiltrated by sentimental hokum about a down-on-his-luck dad and his spunky long-lost son.

Courageous reveals the duo's growing expertise as filmmakers with its skillful blending of moving drama, subtle comedy and several impressive action sequences, including a well-staged foot chase and a harrowing shootout between the cops and bad guys.

Despite the A-list talent involved, this haunted house tale is a thrill-deprived, inert misfire.

Snappy, nasty, deftly acted and perhaps the fastest paced film ever directed by a 78-year-old, this adaptation of Yasmina Reza's award-winning play God of Carnage fully delivers the laughs and savagery of the stage piece.

A very important subject gets too dry a treatment to keep one's attention focused.

Mild vulgarity and discreet nudity garner the sought-after R rating, but this effort feels forced. The real "bad" here is the sheer formulaic nature of everything. There are no surprises but for once you don't much mind.

Fine performances and bristling language compel in this overlong, often off-putting but well-observed New York story.

Everyone's comments are thoughtful and articulate but everyone stays "on message" so steadfastly that no dialogue ever ensues. It's 20 people giving the same lecture.

Mumblecore goes on the road in Dave Boyle's slight but amiable buddy comedy.

A riveting genre blend of thriller, domestic drama and supernatural horror propelled by a brilliant lead performance.

Fleshing out now-familiar tales of misconduct and bad judgment, Palin investigation is entertaining but holds no dramatic discoveries.

Moshe, who wrote and directed, creates a boldly Expressionistic alternate reality to background this heavy-on-the-action story, but neglects narrative and character beyond the most basic strokes.

Most magically, if one were to listen to their music but not know anything about their heart-wrenching situation, their compositions sound as if they've come from the luckiest and happiest performers in the world.

An endearingly cheeky tribute to suspense and slasher classics.

3D swashbuckler wields a disappointingly blunt sword.

Carl Colby's deeply felt exploration of his father's life and career is as emotionally, as it is historically, intriguing, even if the filmmaker ultimately admits that he's never quite able to get to the bottom of his subject's enigmatic personality.

The Whale is a thoughtful, philosophical, political and ultimately sad documentary that ponders the impulses behind, and advisability of, intense interaction between human beings and another smart species.

Singleton's action thriller has a decent sense of propulsion but, after a faintly intriguing start, the convoluted plot mechanics overwhelm everything else, making you feel you're watching a detailed blueprint for a movie, and an increasingly far-fetched one in the bargain.

This true story of a dolphin with a prosthetic tail has been precision engineered for full inspirational, heart-warming value.

A greater argument for music education in our secondary school curriculum can't be made than Mark Landsman's doc about a Texas high school funk band that tore up the music scene from 1968 to 1977.

The film is chock-a-block with extraordinary performances and no one will fault the filmmaking either. This is a well-made movie, make no mistake. It just suffers from a dysfunctional hero.

Red State is cleverly contrarian enough to get a rise out of almost any audience.

One can't escape the nagging feeling that the film doesn't dig deeply enough into its real-life hero. The film doesn't explore all those "whys" and "whats."

Cameron Crowe's feature documentary is among his most effective and deeply felt work.

An appealing coming-of-middle-age comedy, My Afternoons With Margueritte exhibits a pleasantly light touch even when dealing with some fairly weighty issues.

So it's a fun, if not exhilarating, ride, one sped along with the help of a wonderfully assembled cast.

A home-invasion flick that grabs viewers by the throat and only stops squeezing long enough to wipe sweat from its palms.

Reiser has written his characters with an indelible sweetness and vulnerability, which allows the cast to deliver performances with some depth.

An eloquently shot and closely observed documentary about a poor family in modern-day Indonesia.

Whereas Peckinpah managed not only to raise hackles but to get under the skin, Lurie manages only the former, which reduces the material to the level of sensation-mongering.

Disquieting and unforgettable, like a good ghost story, this is a special film for special tastes whose admirers inhabit festivals and smaller niche markets.

Cleverly put together by writer-director Matthew Bate, the film takes a bizarre, cult folktale and turns it into a picture that is more provocative than entertaining.

If it weren't so good-natured overall, Anne Sewitsky's feature debut Happy, Happy might seem entirely implausible, even for a comedy.

The film, well made in every way, smartly focuses on an unlikely friendship between Gretel and the athlete who ultimately replaced her -- a high jumper who was later revealed to be a man!

The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.

Overall, film hits the right tone, and its brief but fascinating glimpses into Goodall's private life distinguishes it from the many TV docs on the lady.

The film tracks the history of the country, but viewers may feel the documentarian inserts herself too much into the story.

If ever a film cried out for the 3D treatment, it's The Mill & the Cross, an ambitious but frustratingly flat attempt to explore, analyze and dramatize a masterpiece of 16th-century art.

Amusing, but formulaic, romantic comedy.

This muscular thriller--led by Jason Statham, Clive Owen and Robert De Niro--strives to be a genuinely good film, but unwilling to let go of proven formulas, it falls short.

Classy and professional throughout, the technical work gracefully holds all the threads together.

The movie does achieve something nearly impossible: Someone who doesn't even like the sport may care about Billy Beane and the 2002 Oakland Athletics.

Unfortunately, the R rating will prohibit the target audience -- namely teenage boys who find penis jokes endlessly hilarious - from seeing this relentlessly unfunny and vulgar effort until it shows up on video and cable.

Directed with feeling for its richly layered protagonists, the film is elevated by its emotional complexity but simultaneously dragged down by the relative shortage of propulsive, hardcore action.

This is awareness-raising documentary cinema at its most urgent and necessary.

Liz Garbus' documentary tells the compelling and powerful story of the late chess prodigy.

Informative and, especially in its last hour, surprisingly dramatic.

Director David Weissman brings a rewardingly fresh and personal perspective to the subject.

Sumptuously clothed in vintage fashion, pop idols Wu and Hsu may bring in a younger crowd otherwise indifferent to the dated subject, but their performances are unimpressive.

This is a film that should be seen by anyone who wants to learn where we've come from as a nation.

The pressure cooker plot calls for intense performances all around but first among equals are Winslet and Ehle.

The PG-13 film is heavy on scenes of cloudy blood in the water but almost entirely lacking shock shots of flesh torn asunder. (And while marketing relies heavily on bikinis, the movie's light on that kind of flesh as well.)

As a thriller, The Debt performs many if not all the right moves. Where the John Madden-directed film gets into trouble is in wanting to deal with the Holocaust without being entirely a period film.

Love Crime has Hitchcockian pretentious, with perhaps a touch of film noir, but the "love" component is perfunctorily done and the "crime" pay-off is unconvincing (despite the twist in the tail). The Master would not have allowed the suspense to dissipate so wantonly.

Not only is this film's form clichéd, so is its content.