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.

Accepting Pawlikowski's mood of poetic seriousness may be a chore for some. Others will find this creepy little sonata a dream or nightmare worth succumbing to, and believing in.

Solondz's most waywardly endearing film - his gentlest triumph.

There is a looseness to the dialogue that suits the mood of the story-each character gets his or her own bombshell (or two) to digest and has to figure out how to cope with it.

Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.

I did laugh. The movie is so disgusting it is worthy of the Farrelly brothers.

It is the movie's uneven writing-half funny and daring, half punishing and senseless-that proves to be Lola's biggest opponent.

He's neither a fun villain or a secret good guy; the movie feels like a senseless venture because, even with his pants down on top of Clotilde or manhandling Virginie, he's the dullest scoundrel around.

Touching, generous, sweet, this little slip of a movie puts you under some kind of spell.

Boldly and gaily sustained the madcap momentum for the whole of its eighty-few minutes.

My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.

A triumph of bravado over self-regard, Brody's performance won't earn him a Oscar to place next to the one he earned for "The Pianist" nine years ago, but it's the only thing that makes High School marginally worth catching.