The ensemble cast members play well off one another, particularly Fan as the self-absorbed Bruce Lee wannabe and Lynn in the role of the monumentally ignorant casting director.

The film and the controversy should generate interest at the boxoffice, but it's more a story about media manipulation and parental responsibility than art.

A more accomplished film than "Yards." Yet it will fail to satisfy police movie buffs, as procedures are de-emphasized, and the drama is too perfunctory and obvious.

Writer-director Preston A. Whitmore II throws enough soap opera for an entire TV season into a story that nearly -- but not quite -- sinks from the weight of all these implausible events. Animated acting and the sheer chaos of this squabbling family give the film a comic buoyancy.

Not the freshest heist movie ever made, Flawless still has a few pleasures to offer, thanks to a well-studied social and political background and to Michael Caine's lovely creation.

Shot on location in vibrant Cartagena, the film's strong suit is aesthetic. Cinematographer Alfonso Beato, designer Wolf Kroeger and costume designer Marit Allen evoke aged exotic locales, rugged rural settings and dimly lit period interiors. A closing, aerial image has a breathtaking, spiritual beauty.

While it can be labeled a thriller or a murder mystery, the film is talky, unhurried, contains little action and shows more interest in how characters think and behave than in its plot.

It contains all the elements from the original film...But that's the problem: It's virtually the same movie with new locations. Oh, plus Helen Mirren. Not a bad addition, but the popcorn fun is gone.

How She Move doesn't exactly break any new ground. But the terrific dance numbers on display should please its teenage target audience.

The film is far from a complete washout, and this is chiefly a tribute to its immensely attractive and appealing cast. Ryan Reynolds proves to have the stuff of a true leading. man.

Shot in high definition and filmed at many historic locations, the film somehow still lacks the splendor of an epic, and its urgency to get on with the next plot point leaves much unexplained while context goes out the window.

The comedy is sloppy, crude and contains far too many misfires, but the film does capture the old ABA spirit in its ungainly struggles to wrestle laughs from seriously mediocre material.

A slow-paced and often confusingly plotted crime drama that never lives up to the delicious potential of its premise.

The movie is, arguably, too long and overladen with ideas. Klotz and Perceval are particularly keen on nailing the use and abuse of language in formatting human behavior.

The film hardly could be credited with breaking any new ground, but it has a hangdog charm, much like its leading actor.

The pic benefits from a loveable-loser turn by Simon Pegg, but the "Shaun of the Dead" star's presence may also lead to disappointment for those familiar with his work.

A young cast and hotheaded melodramatic streak make it broadly accessible, perhaps enough so to help the film scrape past boxoffice challenges faced by other Iraq-centered features.

The director is chasing a mood here -- a mood, an atmosphere and feelings -- much as he did in "In the Mood for Love."

Boasting two terrific performances by Uma Thurman and Evan Rachel Wood as the adult and teenage versions of the same character.

Baby Boom serves up plenty of smart, knowing laughs early on, but by the time it hits the third act (or would that be trimester?), it barely crawls to the finish line.

Unlike a Pixar cartoon that embraces as wide an audience as possible, Speed Racer proudly denies entry into its ultra-bright world to all but gamers, fanboys and anime enthusiasts. Story and character are tossed aside to focus obsessively on PG-rated action and milk-guzzling heroes.

Director Steven Spielberg seems intent on celebrating his entire early career here. Whatever the story there is, a vague journey to return a spectacular archeological find to its rightful home -- an unusual goal of the old grave-robber, you must admit -- gets swamped in a sea of stunts and CGI that are relentless as the scenes and character relationships are charmless.

Full of incident but nearly devoid of dramatic tension, The Children of Huang Shi is a based-on-fact saga that has lost much of its power on the long road to the screen.

Unfortunately, where episodes of the series used to take their cue from a question posed by one of Carrie's columns, writer-director Michael Patrick King never finds that focus, and Sex and the City loses its tart edge in the process.

The visual effects are stellar, but the true star is Smith, who again demonstrates acting chops as well as effortless charisma in a vehicle that's only occasionally worthy of his superhuman skills.

This first feature by veteran visual effects supervisor Eric Brevig has its transporting, if benign, charms.

The CG animation is nothing special, but the characters are surprisingly fun and the story is full of enough puns, wordplay and slapstick to elicit laughs from across the age spectrum.

Although it has its involving moments, the watered-down Waugh fails to make any kind of lasting connection.