Iranian-American filmmaker Ramin Bahrani has followed up his well-received Man Push Cart with another penetrating portrait of life on the outskirts of New York.

Yelchin delivers one of those performances that pop eyes... It's a breakthrough role.

While this actor-filmmaker has delivered such worthy films as "A Rage in Harlem" and "Deep Cover" in the past, this misbegotten effort would be instantly forgettable if not for its potential as future camp classic.

It's an exuberant, fanciful fable set amid the scruffy outskirts of American society, where people's need for escapism coincides with their desire to participate in its creation.

Straight out of the slice-and-dice school of filmmaking, Vantage Point fractures chronology and perspective in a vain attempt to disguise its flimsiness.

At least a fright-wigged Joe Mantegna, delivering an execrable cameo as a whacked-out doctor, has a good excuse for his presence; the writer-director is one of his former film students.

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.

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.

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.

An enjoyable adventure fantasy that pushes all the requisite buttons while still managing to throw in a pleasant surprise or two.

The wall-to-wall soundtrack naturally features plenty of today's leading hip-hop and R&B artists, including Flo Rida, T-Pain, Missy Elliott and Trey Songz.

A "little" film with a great reach.

A soggy, listless affair, this would-be fun-in-the-sun sunken-treasure frivolity starts taking on water from the get-go, thanks to drawn-out exposition and languid pacing.

Ultimately best suited for the confines of late-night cable.

Chock full of wonderful lines delivered by a splendid cast, the film toys with the conventions and mostly transcends the limitations.

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.

What's most disturbing about "Bank" is its lack of ambition. Maybe Jenkins will take more chances in the future. If he's lucky, this stinker will be quickly forgotten.

Warm-hearted and accessible, it could benefit from good word of mouth in a limited art house run, particularly among audiences who like their rom-coms laced with foreign ingredients.

Sacrifices the quietly creepy qualities of the original in favor of ramped-up horror film techniques that by now seem distressingly familiar.

Comes as a godsend to those hordes of desperate parents unable to secure tickets for their heartsick tweens during the teen star's sellout tour last year.

Rudd is an underappreciated comic actor, and his line readings are the best thing in the film, but the bland role barely taps his talent. Amid the rest of the cast's one-note posing, his scenes with a parrot have a spontaneity and wit otherwise in short supply.

The result is a slacker comedy that goes slacker by the second, trying hard to be rude and crude but suggesting an old John Candy-Dan Aykroyd movie with bongs and more swearing.

In short, No. 4 is one big snore.

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

Writer-directors Jason Friedberg and Aaron Seltzer basically reprise the tired formula from their earlier efforts, which is to throw in as many pop culture references as possible to cover up the lack of any real wit.

Highly watchable, anchored sturdily by Lane's convincing performance.

A top-notch varied group of actors, no doubt attracted by the colorfulness of their roles, has been assembled, but their hardworking efforts are ultimately done in by the supremely pretentious nature of the material.