Spicing up the entire package is a screenplay by Canet and Philippe Lefebvre that bristles with wit and energy.

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.

Even the easygoing Broderick can't inject any lift or charm into the story.

The visual design of Wall-E is arguably Pixar's best. Stanton, who wrote the script with Jim Reardon from a story he concocted with Peter Docter, creates two fantastically imaginative, breathtakingly lit worlds.

This over-the-top, ultraviolent, hyperkinetic action thriller pretty much has it all.

An invigorating, funny, and moving portrait of a Hollywood hero.

Obviously, Munro is reaching for something about how people allow themselves to get mired in the past. But his characters and situations are so exaggerated and dreary that his point gets quickly lost.

This is a slap-dash effort whose producers threw money and stunts onscreen instead of the satirical gags and one-liners that made the old spy spoof so memorable.

Not only does the film stumble badly from one skit to another, the skits themselves have too much dead air.

Beautifully acted and written so its themes are touched upon glancingly rather than with full force.

Offers solid, kid-friendly storytelling.

The film does not lack for ambition both in terms of its themes and artistic design. Consequently, his (Jenkins) feature debut, while not flashy, shows promise. Clearly, here is a young filmmaker who wants to tell stories rather than deliver shocks and sensation.

Expired is a remarkable romance of no easy answers; to wit, like real life.

The movie seems more like a '50s science fiction film of extreme paranoia or an episode of "The Twilight Zone" that even at a swiftly paced 90 minutes feels padded.

"Iron Man" has more wit and style, but Hulk is a neat thrill ride with an intelligent script by Zak Penn and smart, well-paced direction by the French director of "The Transporter" series, Louis Leterrier.

Even a klutz could hardly make a bad movie about these compelling figures. Thankfully though, Guido Santi and Tina Mascara are superb filmmakers, fully alive in their terrific film Chris & Don: A Love Story to all the undercurrents of art, social class, sexual orientation, challenging relationships and, most especially, the touching love story at the heart of their film.

Hilarious for those on Maddin's mad wavelength and more varied than his strictly fictional features.

Retains considerable entertainment value on the strength of Herzog's never-dull, very personal narrating style.

The stroke of genius is, of course, the film's hero -- the big, lovable bear that is the Chinese panda.

The comedy star's legions of fans will welcome the cheerfully crude proceedings as a return to silliness after several earnest, lower-key character turns. The melange of Middle East diplomacy, action absurdity, sexual healing and, when in doubt, hummus, wavers between muscular and middling. It's a surefire hit.

The sort of quirky independent comedy that strives for hipness but ultimately just feels contrived and derivative.

A light touch keeps the film from being an ordeal, but the story's trajectory is as predictable as the setup is contrived.

Sergei Bodrov's Mongol relates the story of Genghis Khan's early years in a plodding, uninspired fashion that doesn't bode well for the next two entries in a planned trilogy.

Witty to the point of hilarity, blood-soaked and thoroughly politically incorrect, Mother of Tears: The Third Mother follows 1970s cult classics "Suspiria" and "Inferno" to complete Argento's "Mother" trilogy.

One of the unfunniest comedies ever. Punch lines are lifeless. Characters are borderline catatonic. Running gags can't even walk.

This everything-but-the-kitchen-sink approach not only makes for pacey entertainment, it also allows director Christopher Bell to delve deep into the matter at hand.

U.S. viewers may be put off by its tangled sexual motifs and find its implied social critique a little close to the bone. But even Stateside, Julianne Moore, in her most challenging role in years, will win plaudits and attract mature audiences to a thoroughly absorbing and polished piece of work.

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.