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.