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.

The script by first-time director Li Yu and producer Fang Li introduces some degree of subtlety in the responses of the four principals, but the plot doesn't really hold up.

Too undernourished dramatically to make much of a splash. While it should earn some respectful reviews, audiences won't come away satisfied.

The film is dark, gloomy and without music, but it is also observant and highly suspenseful, with Mungiu using his often static camera to balance banal cruelty with simple generosity.

U2 3D takes the well-traveled concert film to exhilarating new heights.

At the heart of the film is a powerful performance by the beautiful and most promising Hao Lei as its tempestuous, complex heroine.

The most alarming cautionary tale for men with wandering libidos since "Fatal Attraction." It may also be the first horror movie that women drag men to see rather than the reverse.

As writer, Allen offers lazy plotting, poor characterization, dull scenes and flat dialogue.

Think "Godzilla Unplugged" -- with chillingly effective results.

Improbable and generally unfunny comedy.

While Heigl is terrific, this uninspired romantic comedy is considerably less so.

In the end, this passionate indictment of present U.S. policies stirs both sadness and outrage.

It plods along at a sluggard's pace through a weak premise with crude execution and even cruder characters to arrive at an unearned sentimental ending.

It's completely undone by its terrible screenplay, inept direction, oppressive musical score and muddy visual palette.

Slickly made -- in the good sense -- and most entertaining.

The film lacks Hong's usual insight and narrative innovation. It occasionally even feels self-indulgent.

The direction is uninspired, acting is lifeless, and the script borders on the inept.

Boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.

His heart -- and musical soul -- is in the right place, but the film makes you at times uncomfortable with black and Southern stereotypes that may hinder some from fully enjoying an otherwise benign and cheerful tall tale of the Saturday night when rock came to rural Alabama.

This Spanish supernatural thriller begins interestingly and finishes intriguingly. But what lies between drags because the film lacks a driving story line.

Daniel Day-Lewis stuns in Paul Thomas Anderson's saga of a soul-dead oil man.