Singh brings cheeky humor, an eccentric sensibility and an enchanting look to his re-imagined tale.

Somewhere amid the mind-numbing barrage of action sequences there's a story based on Greek mythology. But its essence is buried amid the clatter.

The action is brisk, the acting is solid, and barring an unlikely failure at the box office, a franchise is born. Let the games begin.

An hour into Earth and we're waiting for the film to end, not just the planet.

Unapologetically brutal and unencumbered by much plot, Raid is the year's most turbo-charged film.

The side story about Muslim extremists is a little ham-handed for a film that otherwise exercises such restraint.

The dialogue is fast-paced and full of pop-culture references. It all makes for an entertaining blend of buddy-cop action and irreverent teen-comedy satire.

This very funny spoof of telenovelas and classic Mexican westerns is decidedly offbeat and absurdly daffy.

Sarandon is worth leaving home for, even if Jeff won't.

Though the project, based on the Edgar Rice Burroughs novel "A Princess of Mars," is ambitious, it's also bloated, dreary and humorless.

Friends With Kids takes a fresh and funny look at a familiar subject, with enough buoyant romance to satisfy audiences drawn to starry-eyed love stories and hopeful endings.

The concept is unoriginal, the scenarios aren't funny, and its message is banal. Plus, Murphy alternately hams it up and phones it in.

A movie about a teen party gone horribly wrong, would be every parent's worst nightmare if it weren't so inane.

Robert De Niro has made several unwise choices in roles recently, and his belligerent wannabe writer in Being Flynn definitely adds to that list.

Someone in Hollywood ought to speak for the trees, and The Lorax does it with verve and vibrancy.

Employing Navy troops as stars is a clever idea for an action thriller. But the soldiers' awkward line readings are glaring enough to distract from the potency of the story.

Some of the players are endearingly goofy in this good-natured comedy, particularly Rudd and Theroux. But Wanderlust trundles along unevenly, never reaching the cleverly raucous state it seeks.

Silly action sequences grow tedious and rarely blend with the wannabe madcap comedy.

With its lush colors, imaginative view of ordinary objects and meticulously crafted miniature civilization, it transports viewers to an enchanting alternate storybook reality.

Deftly balancing the students' stories with that of Courtney's, the film creates a fully rounded portrait of a corner of America rarely examined.

Bolstered by the natural performances of a trio of little-known actors, the very watchable Chronicle keeps us captive throughout.

Though the plot can be vague and occasionally convoluted, Harrelson is mesmerizing.

It's a thoroughly family-friendly film, with a subtle message about the importance of father figures. Don't expect anything resembling believability, but enjoy the blend of strikingly colorful visuals and banter between odd couple Johnson and Caine, which combine for a mild escapist treat.

It may appeal to the most rabid fans of tearjerk romances like "The Notebook," but it's a hard-to-swallow, maudlin tale.

Safe House has two powerful performances at its core, a hectic plot, a huge body count and a mild sense of déjà vu amid the pulse-quickening tension.

It's certainly a worthy saga. But given the abundance of one-dimensional human portrayals, it becomes apparent that a documentary on the subject might have been more powerful.

As opposed to modern horror flicks like the "Saw" movies, where gruesome violence can almost blunt fears, The Woman in Black is a tasteful, old-school frightener, emphasizing suspense and foreboding over blood and guts.

More often the film succumbs to clichés, grows convoluted and outlandish, and winds up dead on arrival.