More animals don't necessarily translate to more fun and laughter, at least not when it comes to animated sequels.

The biggest mystery about Repo! The Genetic Opera is why the grisly Goth-horror musical is opening the week after Halloween. The second-biggest mystery is why this unfunny, unscary, preposterous bloodbath about organ transplants is opening at all.

The material doesn't consistently do justice to their talents, but the movie is worth seeing for their chemistry and for the Motown-infused soundtrack.

Splinter is no exploitative blood bath or torture horror like the "Saw" movies. It's more of a thriller along the lines of "The Thing" or "Alien." The scares are equal parts psychological jolts and gore. This is classic Halloween fun, with plenty of thrills and chills, surprisingly believable performances, and healthy doses of humor.

Longs to be a smutty film with a heart of gold. Instead, it's a funny concept whose execution does not live up to its potential.

It's déjà vu all over again. There isn't much more to say about "We Own the Night 2." Oops, make that Pride and Glory.

Even if the refreshing gust doesn't stay with you long, it's fun while it lasts.

Saw V is a terrible combination: grisly and tedious. Let's just call it bloody dull.

While the neo-Gothic tale is inherently intriguing, the film should inspire strong emotion, but deliberate pacing and a contained sense of melodrama make it a surprisingly passive experience.

Writer/director Philippe Claudel knows just how to structure a character study of this sort, so that key elements and important secrets are revealed over time, piquing our interest. The film is almost like a novel or short story, so one's curiosity is satisfied slowly.

The film disappoints terribly, too. The directorial debut of such an imaginative and clever screenwriter was a highly anticipated event. His "Being John Malkovich" and "Eternal Sunshine of the Spotless Mind" are two of the most innovative and intriguing movies of the past decade. Synecdoche is one of the most maddening.

The performances are good (some scarily realistic), and the movie is enjoyable to watch. But as a probing analysis of the 43rd president, it falls short.

Madonna's directorial debut, Filth and Wisdom, feels more like a collection of scenes than a fully drawn film.

Max Payne couldn't be more appropriately named. Sitting through this stylish-looking but derivative, vacuous and bullet-riddled movie inflicts maximum pain.

The documentary is enjoyable, though it could have been edited more tightly. The ending, in which three of the contest participants write and perform a catchy pop song, is buoyantly fun.

Hampered by over-earnestness and tugs too intently at the heartstrings.

Sex Drive does not fully satisfy our comic desires.

A tautly paced, well-acted espionage thriller with the requisite explosions and action sequences. Still, it ends up leaving the viewer rather cold.

Despite appealing performances and kinetic football scenes, the storytelling is mostly conventional.

At its best when sticking to a classic sci-fi-fantasy format. But when it tries to be a generic thrill ride, it loses its originality and peculiar charm.

It is that rare film that is equal parts entertaining, life-affirming and thought-provoking.

A well-acted and attitudinal action movie, a return to Ritchie's trademark "Mockney" style, which takes amusing and twisted turns.

Those with a taste for irreverent humor and clear-eyed analysis will find it funny, enlightening and disturbing.

Gets muddled in slapstick and crude humor.

Though the movie rambles in the middle, it gets back on track when Nick and Norah have a sweet encounter in an unexpected place. The soundtrack is an excellent counterpoint to the film's quirky scenarios.

Alpo is served with a burrito chaser in Beverly Hills Chihuahua, Disney's fish-out-of-water comedy in which the fish is … well, read the title.

A brilliant idea that seems to lack the vision to be great.

The courtroom scenes emphasize the movie's potency as a David and Goliath saga. But the film's strength lies in its fact-based story of a wronged man turned crusader, played with vigor by Kinnear.

At its best in scenes featuring Hathaway's mercurial character. It's a triumphant and darkly nuanced role for her and a departure from the more lighthearted comedic performances she has given.

A terrorist thriller that isn't so much suspenseful as overbearing. Though it aspires to be an intriguing political cautionary tale, the movie is mostly about the feverish and jarringly choreographed chase scenes.

It's tough to make it through Nights in Rodanthe without wincing at its sticky-sweet sentimentality.

Aspires to be epic, but mostly it's just unfocused, sprawling and badly in need of editing.

Yes, it's not for the squeamish or easily offended, but its sordidness is more superficially shocking than wickedly satirical.

Though the lead performances are uniformly good, the film seems hazy in its focus from the start. Many of the scenes seem to simply meander.

A good-natured and engaging fantasy/romantic comedy in the tradition of "Heaven Can Wait" or even "Topper."

If Mel Brooks were to team up with Tim Burton, the result might be something like the loony and colorfully tantalizing animated film Igor.

The movie is raunchier than expected, and above all clichéd, formulaic and thoroughly sexist. Worst, it's just not very funny.

Anyone who has ever had an annoying neighbor will see their worst nightmares fulfilled in the overheated but entertaining Lakeview Terrace.

Harris is a major asset in a film that is entertaining but somewhat unfocused and occasionally badly cast.

Princess Diana's antecedent, both genetically and figuratively, was a beautiful and glamorous duchess named Georgiana Spencer. Like her descendant, her charm and vivacity captivated England.

It's consistently funny -- with witty dialogue and offbeat banter that stays in your head for days.

Defanged and drippy, the remake of 1939's The Women seems to have been made for the dullard granddaughters of the sassy, sharp society matrons in George Cukor's campy original.

By the time the movie reaches its protracted conclusion, it feels like a slog. Pacino has a few funny lines, as does Leguizamo, but not nearly enough to save the film from collapsing under the weight of its own self-righteous tedium.

The potency of the acting is also undercut by leaden pacing and a sense of claustrophobia.

Though better than most of Perry's broad comedies, The Family That Preys still suffers from excessive predictability and mawkish sentiment, which detracts from the story's believability.

Not a movie to cozy up to. The twisted tale is only mildly intriguing, worth seeing mainly for the striking performance of Jamie Bell (Billy Elliot) as Hallam Foe, a creepy teenage voyeur beset with an Oedipal complex.

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

Bunny is fashioned as a bawdy comedy with heart, but its reliance on formula undercuts the amusing moments.

The saga is an undeniably heartwarming one about perseverance, hard work, and pride in community. And who could criticize that?

Elisabeth Shue has a strange role as a version of herself who has given up acting for nursing.

If you're a Rainn Wilson fan, catch a rerun of "The Office."

Don't expect the seventh Star Wars film here. Star Wars: The Clone Wars is more like a long Saturday morning cartoon.

As exhilarating, captivating and enjoyable as a summer romance in an exotic city.

The film has some amusing moments and can be intriguing when it focuses on the slow transformation of a hopeless, faithless man.

A tribute to a giant leap for mankind feels like a clumsy shuffle backward for animation.

Downey is absurdly funny.

True to its title, Elegy is a spare, meditative and melancholy film. It is a deeply affecting and profoundly observed saga about love, art, beauty and, especially, mortality.

The laughs -- mostly crude, profane and drug-addled -- are almost non-stop.

It's the kind of feel-good movie whose resolution is evident from the start, being based as it is on a true story. But that doesn't make the journey any less interesting.

A warm and pleasantly diverting tale.

Remarkably, the plot has much in common with "Hellboy II: The Golden Army," yet that bundle of fun has enough vision to make even its Barry Manilow interlude seem appropriate.

This reasonably entertaining movie falters by trying to be both a dark comedy and a sentimental treatise on family and country.

A Sundance hit that is both absorbing and bleak, Frozen River is anchored by powerful performances, believable scenarios and excellent writing.

It feels like a wan version of the show -- one that has lost its otherworldly edge.

America loves dysfunctional families, but haven't we seen enough middle-aged losers who haven't grown up?

Though it could work as effectively as a television vehicle, American Teen is revealing, funny and involving.

The saga ultimately lacks the emotional wallop of the TV version. But its clever writing, strong performances and sumptuous production design make for a rich experience nonetheless.

When was the last time you saw a blockbuster that was impeccably executed and simultaneously thought-provoking, audacious and unnerving while consistently being fun and entertaining?

The good-natured silliness is contagious. When Streep runs singing through a Greek village, it's like a spirited homage to "The Sound of Music."

Only a truly dreadful story could make 81 minutes seem like an eternity. And Space Chimps is just that leaden experience.

Highly imaginative and consistently amusing without pretensions.

Not so much a movie as an amusement park ride.

If only the movie had heeded its own advice and tried to be different from the standard formula.

A mesmerizing look at the mythic quality and anarchic spirit of the irreverent and rabble-rousing journalist.

A road movie that never really takes off.

Both darkly funny and life-affirming, in an offbeat and offhanded way.

Might have been more appropriately titled "Hodgepodge." What starts out with a sense of quirky fun loses direction and devolves into a mishmash of story lines.

Broderick has the film's most clever lines, but Snow is quite funny and is convincing as an innocent lured by the promise of easy money.

At once futuristic, funny and fantastical.

The thrilling stunts and hyperkinetic action scenes are the undisputed stars of this surprisingly entertaining film.

Bright enough, but stops short of being clever.

Enraptured by bathroom humor that doesn't even reach sophomoric standards. It's more on the level of preschool.

This sweetly enjoyable family film stars the endearing Abigail Breslin as Kit. And, refreshingly, it's actually about something -- the Great Depression -- and tackles such serious issues as prejudice, poverty and homelessness.

A sensitive and occasionally poetic film, Brick Lane is an absorbing tale of personal empowerment and emotional growth.

Shyamalan isn't drawing the caliber of performances from his actors as he used to. Who can forget Haley Joel Osment's haunting portrayal in The Sixth Sense or that of Toni Collette, who played his mother, or Bruce Willis in arguably his best role?

This Hulk is more viscerally angry and packs a bigger wallop than Ang Lee's talkier, more introspective version. But it's hardly the best superhero movie around. "Iron Man" was wittier and more fun.

Though occasionally visually inventive, Kung Fu Panda is a disappointment when it comes to matters of simple black and white: the script.

The laughs are hit and miss and the movie is ho-hummus.

Mongol is quality escapism: an exotic saga that compels, moves and envelops us with its grand and captivating story.

A refreshingly silly and clever portrait of a strikingly daft and clueless man.

Savage Grace is a thoroughly disturbing story, told in a detached style rendering the overall experience an unsettling blend of lurid and vacuous.

Amid the style, sass and sexiness is plenty of sentimentality, especially at the satisfying conclusion.

This is not enjoyable entertainment, but it is brutally watchable.

Sometimes the most compelling real-life stories make better documentaries than dramas. Such would seem to be the case with The Children of Huang Shi.

Screwball, vaguely futuristic political satires are a rare hybrid, and War, Inc. is an intriguing, if flawed, example.

Even with the ponderous dialogue, it's hard not to have fun on this adventure, and it's good to see that Indy, though slightly weary, still has the goods.

An exhilarating fantasy adventure marred only by its length and protracted climactic battle scenes.

With its almost stream-of-consciousness style, Reprise offers a fresh and compelling look at the vagaries of friendship and creativity.