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.

A spare, creepily atmospheric psychological thriller with a death grip on the psychological aspect.

A neatly contained crime whodunit with a nifty setup and an expert lead performance from Samuel L. Jackson.

Full of incident but nearly devoid of dramatic tension, The Children of Huang Shi is a based-on-fact saga that has lost much of its power on the long road to the screen.

The ambitions and intentions of War, Inc., co-written by and starring John Cusack, are laudable, but the film is a nearly complete misfire.

Director Steven Spielberg seems intent on celebrating his entire early career here. Whatever the story there is, a vague journey to return a spectacular archeological find to its rightful home -- an unusual goal of the old grave-robber, you must admit -- gets swamped in a sea of stunts and CGI that are relentless as the scenes and character relationships are charmless.

The director, who also wrote the script, achieves a keen-eyed view of the Turkish expatriates in this film while sustaining his remarkable ability to make them universal.

Much of what is shown onscreen is atmospheric filler, while the various characters describe being made outcasts because of their sexuality while holding on to their commitment to their faith.

Several shades darker in tone than the previous edition -- which, to be fair, didn't carry the burden of expectation that a sequel must bear -- the return to Narnia still casts a transporting spell.

Guillermo Nieto's hand-held camerawork mimics Julia's nervous energy and keeps the audience locked up along with her, working in symbiosis with Federico Esquerro's forcefully realistic sound design.

Unlike a Pixar cartoon that embraces as wide an audience as possible, Speed Racer proudly denies entry into its ultra-bright world to all but gamers, fanboys and anime enthusiasts. Story and character are tossed aside to focus obsessively on PG-rated action and milk-guzzling heroes.

Attempting to be this generation's "Risky Business," The Babysitters is the sort of ribald morality tale that manages to feel sleazy and decorous at the same time.

Tarsem and his screenwriting collaborators aren't able to come up with enough interesting justifications for their sudden shifts, and soon the shape-shifting yarn just feels like lazy storytelling.

Despite its intriguing premise, the movie is a disappointing misfire.

While the archival footage is fun, it's ultimately those bittersweet recollections of his equally energetic wife and adult children that give Surfwise its compelling edge.

Only Diaz shows spark because the actress knows how to simultaneously play nice and be a nasty character, thereby gaining audience sympathy. Everyone else hits one note, and it isn't nice.

The film's chief asset is its superbly atmospheric evocation of its period milieu.

A failed cinematic experiment mainly notable for its fine starring performance by a pre-"Juno" Ellen Page, The Tracey Fragments provides more evidence (not that any was needed) that an extensive use of split-screen visuals is far more irritating than arresting.

With its dialogue largely improvised by many who had seen extensive combat in Iraq, Battle for Haditha has a gripping authenticity lacking in other similarly themed dramas.

Downey plays off his own bad-boy image wonderfully. The writers give him great lines to work with and ditto that for his Girl Friday, Gwyneth Paltrow's Pepper Potts, whose own svelte lines cannot be improved on.