Colorful, noisy and brimming with special effects, the picture may please young audiences simply looking for loud action, but its corny storyline and brittle lack of warmth may discourage both parents and children.

Prolific Hong Kong lenser Johnnie To delivers another solid action picture with this latest effort, a cops and robbers yarn with social commentary mixed in along the way.

A pleasant if pedestrian British romantic comedy.

Stylish and well-observed while ultimately not adding up to very much.

Nothing von Trier presents here, whether real or imagined, is fresh or new.

Roving Mars is bound to inspire hordes of young science geeks to dream about sending in their resumes. The rest of us may not feel so excited.

Long deemed unfilmable, the 18th century novel finds the perfect interpreters in director Michael Winterbottom and actor Steve Coogan.

A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.

It might have been inspired by actual events, but End of the Spear is, literally and figuratively, simply too dull to make any impact.

Unfortunately, there's little wit or genuine suspense to elevate the proceedings above the level of a cheesy comic book.

A small-scale character piece that genuinely likes its protagonists: an overweight teen girl and an overage delivery guy. But for all its quirky touches, the comedy cleaves to formula in its depiction of how they challenge and change each other.

Stirring tale of a team whose big win speeds the integration of intercollegiate sports.

Queen Latifah finally gets a vehicle that gives her formidable talents and expansive spirit plenty of blooming room.

A feeble medieval epic with a lackluster romance at its center.

Deeply frustrating because of its brevity and its lack of solid information and historical context.

Arlyck's artful use of "then and now" images illustrates the relentlessness with which time moves forward. Youth is, indeed, elusive. His seductive film is a retrieval mission and, as such, it is ineffably sad.

Fateless is both haunting and poetic. It also is visually stunning.

Eli Roth turns to modern-day Asian fright filmmakers as inspiration for his latest blood-soaked effort while demonstrating an intriguing, original voice of his own.

The film doesn't have much in the way of genuine laughs despite a plethora of attempted gags, but it does have a geniality that makes it hard to entirely dislike.

Attention, Ben Kingsley (I mean, Sir Ben Kingsley): It's officially time to turn in your Oscar.

A surprisingly frank effort that demonstrates that the country's censors may be loosening their reins. This well-acted portrait of a young single mother displays a universality that should translate well to the art house circuit.

While it aspires to draw the same audiences who admired "Crouching Tiger, Hidden Dragon" and "Hero," The Promise is but a pale imitation of those landmark films.

Switching into a dramatic gear, Woody Allen surprises but often struggles in this dark morality tale.

A fascinating historical tale is rendered with less than compelling results in this pseudo-documentary.

An auspicious debut from first time Aussie writer/director Greg Mclean, film combines the style of cheesy horror films and the flair of classic thrillers.

A smart and sophisticated comedy romp.

Aniston gets marooned here: Her comic instincts are muted by all the identity angst, yet there isn't sufficient dramatic material into which she can sink her teeth. Costner strolls through this role with disarming ease.

This is resolutely a film of the imagination. As with all films in Malick's slim body of work, its imagery, haunting sounds and pastoral mood trump narrative.