Though some scenes may be too intense for children, the action is slick, with robot clashes and airborne chases leaving the strongest impression.

Amelia goes airborne but never fully soars.

It's creepy but tinged with sarcasm and infused with silly fun.

Antichrist is probably the most disturbing, bleak and self-indulgent film ever made.

When it aims for humor, it feels overwrought and clichéd.

Like the book, the movie blends a primitive quality with an imaginative artfulness. It also amplifies upon the story's gentle, sly wit.

Deep within Law Abiding Citizen lurks a thought-provoking movie. But most of what we see on the screen is implausible, superficial and only marginally involving.

If you're not a stickler for consistency, this is an effective pastiche and tribute to one of the world's most enticing cities.

Tedious, unromantic, sophomoric and only sporadically funny.

Through stellar performances, clever writing and exquisite cinematography, the story is fresh and thoroughly captivating.

What vaults the film above the standard sports movie is the stellar performance by Michael Sheen.

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

Mostly, it's just wicked fun.

By adhering to the romantic-comedy formula, The Invention of Lying stops short of being truly inventive. But enough sequences are fresh and inspired to make this a comedy honestly worth catching.

To paraphrase Devo: Whip It, not so good.

A wonderfully odd, bleakly comic and thoroughly engrossing film.

While More Than a Game is a terrific exhibition of talent, exuberance and skill, it is above all a moving tribute to enduring friendship.

Fame offers slick entertainment with some exuberance, but it's devoid of soul or heart.

Not an expansive biopic but a fascinating snapshot of a pivotal chapter for Chanel, her formative fashionista years.

Half a howler but not nearly funny enough.

In less capable hands, the movie could have been maudlin. Instead, Hicks and Owen have created an intimate drama told with humor and emotion.

An insightful, sharply written and unsettlingly amusing exploration of the darker elements of masculinity.

This unfunny, über-misogynistic adaptation of Tucker Max's audacious best-seller of the same name is unlikely to please anyone.

No-frills chills are what Paranormal Activity offers in unrelenting supply.

Impassioned, informative and entertaining, if sometimes repetitive.

A surprisingly savory treat, though it doesn't bear much resemblance to the charming classic children's book on which it's based.

Soderbergh takes a deadly serious news story and amplifies and colors it to the point of outrageousness. The results aren't always consistent, but they are undeniably compelling.

Love Happens is an oddly upbeat title for a movie that is surprisingly sad.

Jennifer's Body is not as hot as you hope it would be.

What the film does best is remind us of the brilliance of Keats flame and how it was extinguished far too early.

Lacks tension or mystery. Even the courtroom scenes feel artificial.

The biggest mystery in this wannabe thriller is why such topnotch actors would sign on for such a dreary movie that amounts to a mediocre soap opera.

Long on imaginative design but less substantial in narrative, this dreary story of fighting the power is more numbing than thought-provoking.

While Walt & El Grupo could use trimming, it also is visually stunning.

Affleck ought to do more quirky character roles rather than leading-man parts in action films. Bateman plays his low-key straight man/protagonist to perfection.

Manages to be both toothless and tasteless in its satire of TV news sensationalism.

This slice of American life, as seen through the eyes of Palestinian immigrants, is nuanced, engaging and authentically observed.

While it doesn't scratch much below the surface, The September Issue is an entertainingly voyeuristic glimpse into the fashion world.

This is Woodstock from another perspective -- one without Jimi Hendrix or Janis Joplin.

Fast-paced, imaginative and often cute, Shorts is slight but enjoyable family fare.

Post Grad is a collection of unfunny, insipid and predictable vignettes in search of a movie.

Tarantino exercises both his obsession with vengeance and his fascination with the movies.

My One and Only has an old-fashioned sensibility -- and some lovely Mad Men-style costumes -- making for a pleasantly diverting road movie.

A few scenes in World's Greatest Dad may qualify it as the most uncomfortable and unsettling movie to sit through of any this year.

With its clever faux documentary style, this is the most imaginative science-fiction movie to come along in years.

Miyazaki creates fascinating, fluid and whimsical scenarios.

A slog rather than the sweeping romance it aspires to be.

It's a pleasure to watch these men perform. These are real-life guitar heroes. But it would have been a treat to see more of them talking shop.

Spiced with plenty of humor and affection.

Doesn't always have a clear path, but that is part of its meandering appeal. It asks if true love exists, then renders it a rhetorical question.

For a thriller of its kind, it's a lively and slick summer escape.

The low-key satire would have benefited from more of a back story to Giamatti's character and a clearer sense of his relationship with his wife. But what we do get is compelling in the way of an indelible, dreamy short story.

Funny People nimbly intersperses humor and reflection. It is a rumination on mortality, fame and life choices, punctuated with Apatow's trademark raunchy humor.

Forget "Twilight." Fans of vampire movies are not likely to see anything more graphic, extreme or twisted than Thirst.

Adam is a cut above most romances and boasts a intriguing conclusion. One comes away with a sense of hope, leavened by realism.

Despite its appealing stars, The Ugly Truth is a charmless romantic comedy.

G-Force is unlikely to keep anyone older than 10 on the edge of his seat, and the bathroom humor may annoy adults. But the message of unity, while unoriginal, is consistently sweet.

It's a cut above most spooky-kid movies, with a twist that sets it apart.

Dull, dreary Answer Man raises this question: Why?

Drawing upon "Wag the Dog," "Dr. Strangelove" and "This Is Spinal Tap," this sardonic tale is adapted from the critically acclaimed BBC series "The Thick of It."

Grief and suicide seem unlikely subjects for a comedy. But Shrink tries gamely to mine edgy humor from the darkest places. Sometimes it works. Other times, its Hollywood-centric focus feels like a re-heated cinemash of "The Wackness," "Crash" and "The Player."

Much like Annie Hall did for a previous generation, (500) Days of Summer may be the movie that best captures a contemporary romantic sensibility.

One of the series's best, with spectacular effects, nuanced performances and witty dialogue.

This leaden teen comedy is meant to be lively, but it's curiously bland.

Brüno offers more shock value for your moviegoing dollar than any other movie this year.

The concert footage is mesmerizing; the planning leading up to the show is pedestrian.

A broad comedy and sometimes charming character study that takes a strange turn in tone and becomes a disappointing drama.

This is probably the year's worst romantic comedy -- and that's saying something in a year that includes "Ghosts of Girlfriends Past" and "Whatever Works."

Once fresh, the story is now buried under a hoary coating.

A welcome adult alternative to summer's sophomoric blockbusters. The only transforming going on here is actors skillfully taking on roles of '30s-era gangsters and lawmen.

Abigail Breslin and Sofia Vassilieva are terrific. But the performances by the older actors are largely forgettable.

Both a psychological portrait and an exciting action film.

Cheri, like the character, is an entertaining bauble without much on its mind.

A timely story, given the political upheaval in Iran, it is emotionally explosive. It also is profoundly compelling.

This sequel to the clever and funny first "Transformers" not only is disappointing, it will give most people a throbbing case of metal overload.

The humor, largely centered around bodily functions and bathroom habits, is almost exclusively sophomoric.

A serviceable and intermittently funny romance.

Woody, please: Go back to the European locales that so energized you of late.

The new Pelham takes the chilling original premise and modifies it for an era steeped in technology, making for an energetic and engrossing adaptation.

Though Imagine That's message is benign, its adult focus is off-base, and every move feels too familiar, formulaic and telegraphed.

Moon, a superb first feature directed by Duncan Jones (David Bowie's son) and starring an impressive Sam Rockwell, is an intelligent, evocative and deceptively low-key sci-fi adventure.

Director Todd Phillips (Old School) has a knack for extreme scenarios and outside-the-box casting. He has made a movie that is consistently funny from start to finish.

Cloying and dated movie.

A movie with memorable and engaging performances.

It's hard to know just who the intended audience is: The movie is too surreal and bawdy for young kids and too silly for anyone older than 25.

Easily the summer's, and probably the year's, most enchanting movie, Up is a buoyant delight.

Drag Me to Hell is unlike any scary thriller in a while: frightening, frenzied and fun.

Though events unravel predictably, the film is profoundly affecting, thanks to a well-written story, rich characters and superlative acting.

Dance Flick occasionally hits its mark with nimble execution. But too often it stumbles clumsily into bad taste.

Resembles an enthusiastic but undisciplined child running amok through an exhibit.

It's hampered by a listless quality and a one-note performance by porn-star-turned-actress Sasha Grey.

A touching and illuminating documentary.

It's a pleasure to watch such top-notch actors deliver Coward's sparkling wit.

The predictable story feels as if it were written by a computer program labeled "sequel."

Angels doesn't know when to quit: Just when you think it's over, it continues.

The Brothers Bloom has it all: charming romance, jaunty adventure story, witty dialogue, gorgeous cinematography and superb performances.

It's a sweetly strange yet uneven comedy, with a charming lead performance by Steve Zahn offset by a lackluster one from Jennifer Aniston.

Each character is decent and likable, as well as complex. The four main portrayals are outstanding -- so natural and believable that you are drawn into their story immediately.