Gigandet, whose star has been rising thanks to his roles in such films as "Twilight," "Burlesque" and "Easy A," delivers a sensitive portrayal that proves he's more than just a hunk. Malone is as appealing as always, and Hartman is wonderfully fun as the Buster Poindexter-like singer. But the script lacks the depth to transcend its cutesy gimmick.

This cleverly conceived, behind-the-scenes tale features fine lead performances and enough nods to the epic group's early days to interest fans outside the U.K.

Dennis Farina gets the enviable opportunity to humanize the kind of character he has sometimes exaggerated comically in glossier films.

Performances are strong across the board, and the movie offers a solid sense of place. But the mysteries, once explained, don't make a lot of sense.

Though some of the movie's performances flirt with caricature (Siobhan Fallon's loud-mouthed aunt, Demi Moore as a brash and overtly sexual second wife), the movie has a center of gravity just strong enough to contain them.

A smoothly engineered crowd pleaser.

As leaden as the bullets whose random behavior it revolves around, Géla Babluani's 13 fails to recapture the sweaty tension of his original 13 Tzameti, a French import that reeked of style and first-timer ambition.

From the opening credits -- an animated sequence so crude a junior-high art student would be ashamed of it -- to a climax in which Kate's dog is taken hostage with a crossbow, there's not an ounce of mirth in this parade of ghastly accents, tin-eared romantic montages and dime-store knavery.

Astin's endearingly game performance isn't enough to carry the film, which won't likely see a second week in theaters.

You don't have to be an enthusiast of Bollywood to embrace RA.ONE, but it sure would help.

As novel and absorbing as In Time is in several respects, however, Andrew Niccol's latest conception of an altered but still recognizable future feels undernourished in other ways that are not as salutary, preventing the film from fulfilling its strong inherent promise.

Precise, lucid and thrillingly disciplined, this story of boundary-testing in the early days of psychoanalysis is brought to vivid life by the outstanding lead performances of Keira Knightley, Viggo Mortensen and Michael Fassbender.

A visually dazzling adaptation of the legendary – at least outside the US – comic book series by Belgian artist Herge.

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.