Yogi is still smarter than the average bear, but Yogi Bear is much less smart than most of the year's kid-friendly cartoons.

There's insufficient suspense in the life-or-death stakes, sketchy plot detail in the gang clash that triggers the action and too little ambiguity in the intercharacter dynamics.

How she (Dunham) made her movie is more impressive or at least unique than the actual story she chooses to tell.

The widely heralded musical auteur deserves a more insightful documentary treatment than the one afforded in Strange Powers: Stephin Merritt and the Magnetic Fields.

After her foray into historical costumers with "Marie Antoinette," Sofia Coppola makes a happy return to "Lost in Translation" territory in the cutback charmer Somewhere, which illuminates the emptiness of a movie star's life in Los Angeles through close observation and gentle irony.

An aimlessly wandering DIY-indie that will send viewers retreating to popcorn movies at their local multiplex.

A fiendishly entertaining Christmas yarn rooted in Northern European legend and lore, complete with a not-so-jolly old St. Nick informed more by the Brothers Grimm than Norman Rockwell.

It perhaps started with "The Queen," continued with "Young Victoria" and now achieves the most intimate glimpse inside the royal camp to date with The King's Speech.

Not a particularly deep portrait of its iconoclastic subject, this loving documentary should be of interest to aging baby boomers with long memories.

A passably entertaining hodgepodge of old and new animation techniques, mixed sensibilities and hedged commercial calculations.

Women will love this, and men won't mind the eye candy either, so it looks like this Screen Gems release can't help becoming a hit.

Staggeringly misjudged in virtually every department, from the wannabe effervescent script to Johnny Depp's dopey hairdo.

More than even the most faithful of the earlier episodes, this film feels devoted above all to reproducing the novel onscreen as closely as possible, an impulse that drags it toward ponderousness at times and rather sorely tests the abilities of the young actors to hold the screen entirely on their own, without being propped up by the ever-fabulous array of character actors the series offers.

Dead Awake, now receiving a limited theatrical release, is the sort of B-movie effort that so screams "direct to video" that it's a wonder they don't hand you DVDs as you enter the theater.

The film starts out as a gentle Hollywood satire, shifts abruptly into a comedy of (bad) manners, turns into a crime story and deviates into a suicide attempt before it reverts to a Hollywood satire with a happy ending. No Hollywood satire should ever have a happy ending.

The film does achieve moments of catharsis, but it can be heavy going.

Far less daring than her 1999 "Titus," which took an electrifying, stylized approach of a lesser-known play, The Tempest in comparison looks disappointingly middle-of-the-road.

So like much of this film, the viewer is turned into an observer. You never feel close enough to the action, either in the ring or in the kitchens, living rooms and tough streets where the story takes place. The characters engage you up to a point but never really pull you in.

The simple but affecting film begins a weeklong award-qualifying run Friday before opening in stateside art houses Jan. 21, and is worth a look for its gutsy and commanding central performance.

One ticket buys you cowboys, samurais, gangsters, ninjas, spaghetti Westerns, Hong Kong martial artists, knife throwers and even Fellini-esque circus performers. But like kimchi pasta, some things aren't meant to mix.

Despite some choppy transitions and a few melodramatic moments that don't work, the film casts an effective, deepening chill.

It all ends up being a half-hour too much of a just okay thing.

After slipping badly with the second installment two years ago, the Narnia franchise does a full-on belly flop with this third.

Well-made and acted Coen Brothers remake lacks the humor and resonance that might have made it memorable.

Indeed, White Swan/Black Swan dynamics almost work, but the horror-movie nonsense drags everything down the rabbit hole of preposterousness.

Remains mostly fascinating even in an amateur storyteller's hands.

Filmmaker Javier Fuentes-Leon's delicately and sensuously illuminates this collision of contemporary sexuality with centuries of dogma and tradition. At times, he interjects magical realist elements into the story, which makes it confusing rather than lifting it to a higher plane of understanding.

Not hurting matters for foreign and Indian film devotees, the film features two icons of Indian cinema, Madhur Jaffrey and Naseeruddin Shah.