This cutesy film is overwhelmed by a sense of forced farce.

The overall tone is familiar, refried, redundant.

I don't want to scare anyone away, but Hope Springs, better than I expected, is a movie for grown ups that seems just the tiniest bit French.

Vapid, claustrophobic drama.

No scene lasts more than a few minutes, but the overall is effect is being subjected to 105 mins. of YouTube vignettes that someone has chosen. 360 is probably best appreciated or endured on a long flight similar to the one Hopkins takes in the movie.

It ends up being surprisingly touching, despite the fact that you start rooting for the cloyingly cute Celeste and Jesse to break up almost from the first frame.

The new PG-13 movie is a fairly close adaptation of the Verhoeven, and lacks not just the earlier film's newness but its vigor, density, humor and R-rated juice. It's like the dinner-theater revival of a classic play, whose single asset is to remind those present how good the original was.

You're unlikely to laugh much, and you may get an unexpected case of the non-art-imitates-bad-life creeps.

Ruby Sparks tries its damnedest to make a picture that seduces moviegoers into accepting it as their best imaginary friend forever. But the sweat shows more than the sparkle.

The full-bodied performances of Merad and Darroussin give everyone - everyone with an indulgence for old movies about old values - a reason to see this Well Digger's Daughter.

The steady wink wink of Queen of Versailles is wearing. I'd say Greenfield is exploiting a narcissist's willingness to talk endlessly about herself, but I think it just as likely that Jackie is exploiting Greenfield's willingness to listen. And to keep that wonderful mechanical eye focused on her.

McConaughey's fans might be shocked to see him in this role - more likely, they'd skip the opportunity - but they ought to give his performance a shot. The dimpled demon lover proves he can be just as seductive playing Texas's creepiest, craziest cop.

"The Avengers" is kid stuff compared with this meditation on mortal loss and heroic frailty. For once a melodrama with pulp origins convinces viewers that it can be the modern equivalent to Greek myths or a Jonathan Swift satire. TDKR is that big, that bitter - a film of grand ambitions and epic achievement. The most eagerly anticipated movie of summer 2012 was worth waiting for.

Well acted and acutely observed, the film doesn't try to be a conventionally satisfying coke-land action film.

Red Lights reaches for a "The Sixth Sense"-style twist and whiffs it completely.

The frenetic pace masks an emptiness; this Ice Age is just a collection of slapstick moments and fisticuffs.

It may be minimalist, but it isn't minor.

Savages isn't great cinema, but it's a very alive movie about people who probably ought to be dead.

Rarely do you see an actor harness such physical energy on the screen, much less dance at this level of intensity while converting raw muscle mass into raging sex appeal. But Tatum is the real McCoy.

None of this is new to us, but Garfield and Webb make it feel convincingly fresh and exciting.

The glossily photographed family drama People Like Us is not without appeal, but it has a major construction flaw. It's dramatic arc is predicated on the problem of accidental incestuous attraction. Egads.

This is no-holds-barred humor of the finest, grossest kind, centered around the theme of arrested development.

Mark down the date: June 27. That's when American moviegoers will see this perfect storm of a film, and the tiny force of nature that is Quvenzhané Wallis.

When Seeking took hold of me, completely and without warning, I was digging for tissues. It's a lovely surprise for the official start of summer.

Repressing its rage to tell an important story, The Invisible War identifies soldiers who are true heroes because they dared to fight for justice.

Other than Baldwin, Allen and Eisenberg - who is delightful - few of the performances are memorable. Page is miscast as a femme fatale, but adroit with Allen's lines, but the other women, Cruz, Pill and Gerwig hardly register.

Visually the most ravishing and complex Pixar movie, Brave evokes memories of Walt Disney's early experiments with the multiplane camera, but with the more persuasive intricacies available to CGI artists.

Watching this is like flipping channels randomly between a Masterpiece Theatre drama and a splatter film on Cinemax. If you're like me, you'll stick with the splatter.