Completely lacking in visual, narrative or stylistic coherence, the film also suffers from cheap-looking visual effects and poorly staged and edited action sequences that will not exactly please the fanboys.

There are sufficient pratfalls and Miley/Hannah quick-changes to satisfy the fans, while Cyrus retains that natural, unforced likability that made her a star in the first place.

In the film's most flamboyant role, Peter Sarsgaard's devil-ish charisma and cold bluster is frightening.

Barring a Terry Zwigoff return to "Bad Santa" territory, it's hard to imagine a filmmaker embracing this dubious hero to the extent writer-director Jody Hill does.

A period suburban rites-of-passage story with a pitch-perfect cast.

With a keen affection for his own formative years, filmmaker Greg Mottola has crafted a funny and spunky amusement

Although it's refreshing that Alien Trespass doesn't indulge in the sort of mindless, gross-out humor that afflicts so many current cinematic spoofs, it errs too much on the other side, offering mere pastiche instead of witty satire.

Hecker makes good use of the south Florida locations, and the song selection -- including many Big Band favorites -- is winning.

All of this mayhem keeps us watching, but it would be hard to describe the experience as pleasurable.

Fast & Furious is the first film since the original to be smart about how far to stretch logic without sacrificing the desired macho swagger and revved-up emotions.

We can be grateful to a stellar cast and some discipline on the part of Matt Aselton, a commercials director making his feature debut, that Gigantic doesn't go completely overboard. Nevertheless, the film will appeal mostly to festivals and adventurous audiences.

The movie is almost rescued by the wonderful 1930's style songs (written by Reinhardt Wanger and Frank Thomas) that populate its final act.

Low-key, realistic performances from a mostly nonpro cast keep the story running smoothly. His face visibly stressed-out and hardened from loneliness as he detaches himself from family and friends, Naji gives the film a strong center.

Riveting, near flawless documentary.

Polished, funny and utterly charming.

It is both funny and sad, placid and provocative and, above all, hopeful and despairing.

There is a nice mix of action with tender moments -- especially among the misfit monsters

What seemed sharp and pointed onstage comes across pedantically in the film, which treats its subject with a clumsy heavy-handedness.

Although the impressively acted ensemble piece occasionally gets tripped up by Peter Elkoff's overtly literate script, it travels in some unexpected, thoughtful directions.

Cena is no Jason Statham. His stolid seriousness sucks the life right out of any scene in which he's required to speak. It's a bad sign when you repeatedly wish a runaway trolley would silence the hero.

Often engrossing and humorous.

Haunting tweaks familiar tropes enough to make them interesting. Just not so interesting as to inspire many nightmares after the credits roll.

Misunderstandings, new turns and stratagems mark the rest of this delightful divertimento, which navigates between burlesque and romantic comedy.

Director Alex Proyas resolutely thinks in B-movie terms. Even with an A-list budget, he oversells every plot point and gooses the thrills with hokey lighting, bombastic music and serious overacting.

Fukunaga clearly exhibits a flair for spirited storytelling, but when Sin Nombre departs from the specifics of its unique world in favor of more conventional genre execution, it leaves the characters and audience adrift.

It's a rare comedy that actually grows funnier on reflection. It benefits enormously from the talents of the two stars.

The movie is fun, with plenty of intrigue and suspense that will have audiences clutching at their arm rests.

A warm, amiable glimpse at the end of the showbiz road.