As has been previously demonstrated in the hugely successful Perry's stage, television and big-screen works, subtlety and tonal consistency are not his strong suits. Here, the mostly broadly drawn characters and situations on display quickly prove grating, with the film veering awkwardly between broad comedy and melodrama.

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.