The best you can say about the movie is that it isn't boring. It's fast-paced, but it isn't really well made.

Manages to stand on its own two skyscraper heels thanks to the comic force of nature that is Anna Faris.

Every triumph registers low on the emotion meter, and most of the supporting characters are two-dimensional at best.

Attaining somewhat of a bad parody of a comedy, screenwriters Andrew Fleming and Pam Brady have slapped together a string of gags in a hit-and-miss dither. Some of it is quite brainy.

Kimberly's ground-zero home video of the storm is what really makes the film exceptional, although much of it is of such rough quality and execution that it struggles to hold up on the big screen.

This smartly assembled wake-up call concerning the nation's lousy spending habits proves to be as unexpectedly spirited as it is dispiriting.

Overcomes its essential familiarity thanks to a frequently witty script, grounded direction (by Peter Cattaneo, of "Full Monty" fame) and an engaging turn by its star that proves him more than capable of carrying a comedy feature.

The largely uninspired Clone Wars feels landlocked. In the absence of any extensive innovation, the video game-ready results play more like a feature-length promo for the imminent TV series of the same name than a stand-alone event.

The two most hilarious characters, played by Spain's two most famous actors, Javier Bardem and Penelope Cruz, are nothing if not cliches about tempestuous Latin lovers. But, boy, does Allen have fun with those cliches.

An awkward mix of proficient 3-D animation, detailed technical recreation and strained storytelling that stalls on takeoff.

This remake of a South Korean movie ultimately provides fewer scares than the average aging baby boomer feels every time they look into a reflective surface.

The biggest hole in this picture is not so much whether an audience will buy its miracles but whether an audience will care about Henry Poole. Wilson hits the same notes in virtually every scene without any change to his physical rhythms or moods.

Its impact is weakened by a limp ending and a sense that it all adds up to rather less than the sum of its parts.

An engaging if less than revelatory documentary.

Stiller manages his movie nicely so that all actors get their share of the comic spotlight. Seldom does an ensemble comedy not contain a single weak character or performance as does this one.

Cruz's performance deserves to be seen widely, and it should place her again in line for prizes, but the story's pretensions and downbeat mood will not endear the film to audiences.

Lacks sufficient substance to be of more than quickly passing interest for all but the most devoted fans.

Ex-Germs infect biopic with punk authenticity

There's definitely a workable, reality TV-based angle at the core of Last Stop -- something along the lines of "No Reservations" but with scattered human remains instead of Anthony Bourdain.

It's with that action aspect that Pineapple Express differs from Apatow's previous production output, and though, the words "taut" and "pulse-pounding" would never apply, the giddily over-the-top fight sequences, choreographed by veteran stunt coordinator Gary Hymes, handily compensate for the lag time.

This intelligent, affectionate, beautifully acted movie gives crowd-pleasers a good name.

A shapely sequel that retains much of the sparkle and warmth that made the original such a pleasant surprise.

A knowledge of Smith's landmark contribution as a rock 'n' roll pioneer is not essential, and the film should be a joy for anyone interested in pop culture of the past 40 years.

Too much of the proceedings are silly rather than horrifying, with the nadir being the appearance of some particularly athletic Yetis who briefly pitch in to lend a hand.

Paints a surprisingly sour portrait of nearly all its characters, so much so that even the final-reel redemption rings hollow and forced.

You don't have to be Jewish to enjoy Sixty Six, but it probably wouldn't hurt.

An amusing ensemble piece about the troubles of dislocated twentysomethings attempting to find their way through life and love.

Overall, the film plays like an improbably skewed but comparatively routine criminal procedural that would have served the original show well as an extended season opener or sweeps-week contender.