"It's a mess" is the campaign slogan of Marty Huggins, played by Galifianakis. He's referring to the state of government. But he might as well be describing the movie in which he co-stars.

It's about as uncomfortable as sitting through an interminable counseling session - involving two people you hardly know and don't much care about.

What snookered Slater (not to mention Donald Sutherland) into this film is a wonder, because there's not a genuine bone in it. Think the Bourne franchise meets the Bond franchise, without the wit or action.

The bone-crunchingly violent film has luridly entertaining moments. But by its resolution, this sleazy Southern Gothic nightmare has simply gone off the rails.

Maintains the franchise's knack for getting kids right.

Instead of drawing the audience in, the action scenes merely blur together. And the intriguing, thoughtful concepts at the story's core are glossed over.

Revolution tries a few plot moves, but, narratively, it has two left feet.

A musical detective story, this enthralling documentary focuses on a little-known American musician whose haunting voice and poetic lyrics were essentially unknown in his own country, but had a massive impact across the globe.

The film is one long Costco joke - but the punch line is never all that funny.

The fictional premise is used cleverly to illuminate the creative process and explore romantic minefields, and the appealing Ruby Sparks has a low-key, polished charm.

The point of the film is not to scorn or mock the Siegels, despite their excesses. They embody the quintessentially American urge to live beyond one's means. Their saga is simply the story of a nation's materialism writ large.

While it's the most ambitious of the three films, it's not as mesmerizing as 2008's "The Dark Knight." The plot is occasionally murky, its archvillain lacks charismatic menace, and the last hour is belabored.

It's mystifying how such a muddled and silly movie drew the talented cast it did.

Much of the action in Ice Age: Continental Drift takes place on an iceberg fashioned into a seagoing vessel. No one seems to be piloting the boat, which is an apt metaphor for the film.

So sobering an example of why crime doesn't pay that it could be shown to petty drug thugs to scare them straight.

Williams is hampered by her character's limitations. What results is a mannered tale of an immature, empty vessel.

Savages comes off as director Oliver Stone trying to rekindle his "Natural Born Killers" mojo from 1994. But when the bigger-name stars show up here in cartoonish roles, things feel more silly than gritty.

Does Part of Me plumb the depths of her soul? Hardly. As billed, it's a part of Perry she's willing to share.

As a new chapter in the superpowered arachnid saga, it stands on its own quite nicely, focusing more on human emotions than on a panoply of special effects.

It certainly stays alive in this spare and intriguing film directed by Jonathan Demme, who has helmed two previous Young concert films.

The movie's soap opera quality undermines its efforts to tell a family saga with much believability.

This bromance with rapid-fire quips, however, is undermined by unoriginal scenarios and a long, drawn-out chase scene.

So many movies try to capture human relationships and fail miserably. A few come close. Your Sister's Sister nails it with grace, humor and winning charm.

Almost as impressive as Tatum's moves are his comic flair and breezy grace. He proved his comic talents earlier this year in "21 Jump Street" and shows them off winningly here.

It's unlikely there will be a film as visually stunning or poetic this year - or perhaps any year - to rival Beasts of the Southern Wild.

It's a lively, psychologically astute tale filled with humanity, wit and charming performances.

A stylish slasher of a movie, a monster flick that does its vampires right, if not their real-life counterparts.

It's neither one of Allen's best, nor among his worst. It is also not likely to win audiences over with the passion that "Midnight in Paris" did.