This candy-colored animated fable is an awkward mix of corny bee puns, clever sight gags, kid-friendly action, adult-centric workplace angst and Seinfeld's distinctive navel-gazing wit. And what's up with those four-legged bees?

More than any previous film on the subject, Braun's documentary offers an answer to a common question, perfectly phrased and answered by Cheadle himself: "What can I do? More than nothing. A lot more than nothing."

Thirty years down the line, not everyone looks as they once did, so even fans will have trouble putting names to aged faces. Newcomers, meanwhile, will feel hopelessly shut out.

Cusack makes a half-hearted attempt to connect with Coleman, but chemistry is fatally absent and small wonder: Dennis is a unsettlingly strange creature who could well be from another planet.

The true star of this nerve-racking family crime drama, shot with a minimum of fuss by Ron Fortunato, is playwright and first-time screenwriter Kelly Masterson's deft script, which carefully develops each fatally flawed character and tells their stories in achronological flashbacks that seamlessly fit together like a jigsaw puzzle.

Well-acted first-feature.

Watching Binoche dithering about an American comedy takes some getting used to, but she's a believable soul mate for the hangdog Carell. The rest of the family, however, has got to go.

The minutiae of Carter's book tour isn't always enthralling, but his personality drives the film: pious, stubborn, devoted to his wife, curious, professional, warm and yet slightly removed from the fray, conciliatory, meticulous, self-effacing, funny, decent, intellectually rigorous and firmly committed to his positions.

The film rings so consistently false that it's more likely to induce snickers and eye-rolling.

Barnes, now in his seventies and relocated by the Witness Protection Program, is shot only in silhouette, but there's plenty of footage of him in his heyday, dressed to the pimpalicious nines and playing to the cameras like a movie star.

The trouble is that if you haven't seen the other entries in the cycle, or don't have all the characters committed to memory, you'll have trouble figuring out who anybody is or, in the end, what any of it is supposed to mean.

If not exactly dull, Hopkins' stream-of-consciousness rant is nonetheless self-indulgent and crammed with bits of business that never add up to anything much.

Isn't exactly a straightforward biography, but rather a snapshot of the iconoclastic American maverick at a particular point in his career.

Mark Boone Jr. makes a vivid impression as eccentric loner Beau Brower, and Danny Huston is mesmerizing as the leader of the shrieking, slashing, wallowing-in-gore bloodsuckers. They effortlessly eclipse the rest of the cast.

We're treated to endless scenes of women getting slammed, thrown and clothes lined, while men's genitals are grabbed, groped, stroked and tasered. It's all just as painful as it sounds.

Fans of Lehane's Kenzie-Gennaro books will lament the fact that starting with the fourth book means losing the couple's extensive backstory, but the essence of their fragile, damaged bond comes through even if you don't know what shaped it.

With his carefully controlled pacing and superb use of sound, Sarkies draws the viewer deep into the experience of a town caught completely off-guard by a kind of violence they could never have expected, and won't soon forget.

Taut, powerfully acted political thriller.

It's hard to watch two fine actors working themselves into a lather for so little reward.

The supernatural plot elements are developed so unconvincingly that the story seems to be about people ruining their own lives by believing in stupid superstitions, so it’s a shock to realize the ghostly goings-on are meant to be taken seriously.

Allen Loeb's first produced screenplay is an unvarnished treatment of death and its aftermath that's unusual for a Hollywood film.

Formulaic film recounts the tumultuous birth of Israel.

Often rings painfully true, but would have benefited from judicious editing.

History gets short shrift from screenwriters William Nicholson and Michael Hirst -- starting with the not insignificant fact that in 1585, Elizabeth was 52 years old – but Kapur is clearly more interested in spectacle and soap opera than dusty old facts.

Yes it's as corny as Kansas in August, but this admittedly formulaic sports drama is base on a true story and has something important to say about the fate of many small Midwestern American towns whose popular sports teams fall victim to school consolidation.

Gosling is the film's salvation: He really is good enough to make this underwritten fantasy feel as though it amounts to something. But it doesn't.

The result is unfortunate: Pinter can't find emotional depths that just aren't there, but dispenses with most of what made the original entertaining in the search for them.

Schroeder's film is a fascinating character study in contradictions and in the end Verges remains loathsome, oddly charismatic and willfully enigmatic.