An underwhelming vampire romance long on camp but short on emotional insight

Derivative bits aside, the pint-sized Japanese icon takes flight in vibrant CG animation -- no 3D glasses required.

The chosen style of animation leads to a distracting choppiness that renders the movements, gestures and facial expressions of the interviewees unconvincing. The other problem is that, memory naturally being something that returns in fits and starts, the film is rarely able to sustain any consistent narrative thrust.

Eastwood has always had the gift for comedy in his acting repertoire, but he indulges in it only rarely. His fans might embrace this return to comedy.

Perhaps best suited for younger audiences, who will be more receptive to a vital history lesson only if it's given a music video-style treatment.

Part musical, part love story, part family melodrama, part inspirational treacle, Tyler Perry's latest movie, I Can Do Bad All by Myself is something of an unholy mess. Alternately stupefying and entertaining, the film does benefit from a strong cast.

Features enough genuine laughs to give it decent commercial traction.

Penn opts for epic proportions and clutters his narrative with gimmicks. For the most part, it works. What's missing is the perspective and insight that would illuminated the inner dimensions of a driven young man who is preachy and downright irritating.

The real pirate radio ships, whose days ended in 1967, wound up being towed away for salvage but the film avoids that fate -- like the best rock songs -- with a rousing finish and a pleasing climax.

The effect is impressionistic and provocative, with the emphasis falling differently on scenes because of our knowledge or lack thereof.

Geoffrey Sax, a British television director making his theatrical debut, lavishes enough craft on the paranormal thriller to send more than a few chills down the spine.

Thanks mainly to his (Jackson) considerable presence, Coach Carter works more effectively than expected.

The film has enough originality to interest demanding fans of the genre.

As an introduction to this mind-spinning festival, the film gets the job done.

It suffers from a lack of genuine chills or suspense that renders its slight virtues rather moot.

Familiar but never overly broad, this well-cast, crowd-pleasing comedy benefits from a low-key emphasis on character over high jinks.

A curious film with real heart but questionable technique. This art house fodder is just quirky and fresh enough to catch on with audiences.

Macpherson keep things creepy and mystifying. But that damn videotape takes the edge off the mood both visually and dramatically.

Well-meaning but implausible story.

If sheer cleverness were everything, Robots would be the best computer-animated cartoon yet…Yet, unlike the very best CG animation, Robots doesn't quite connect with the emotions and humor for which one yearns in cartoons.

By avoiding sentimentality, Millions emerges as a simple tale told with sympathy for a child's point of view.

The decidedly irreverent nature of much of the proceedings will be a turnoff to some viewers, a tonic to others.

A shiver of cosmic comedy runs through the film's tragic turns.

Full of insights on love and sex -- which will have more resonance for lesbians but pack a universal punch.

Causes don't get much worthier, and Smile is a labor of love, a portion of the film's proceeds earmarked for the humanitarian group.

What emerges is that Yao is a fascinating individual with great humor and modesty, as well as the potential to be one of the greats. Unfortunately, that's all we really find out about the guy.

This is a hand-me-(dumbed)-down chick flick that is counting on Kutcher's tabloid popularity and Peet's unmistakable though here underutilized talents to cover up for rote characterizations, tired plot devices and a general lack of inspiration.

Exists as a freaked-out drama rather than a parody.