The ideal culmination of a fantasy series that has artfully blended excitement, adventure and terror with humor, kinship and love.

There isn't much in the way of plot to get in the way of Sandler's world: There's poo, ripped pants and hot girls falling for fat guys.

It's over-the-top stuff, to be sure. But Bosses never crosses that line into the macabre.

Hanks directs with assurance. Perhaps if he had teamed with a more agile writer, less given to cheesy yuck-fests, Larry Crowne would be the nuanced adult love story it aims to be.

Monte Carlo is a wish-fulfillment fantasy. (What luck! The heiress' clothes fit all three girls like a glove!)

Stinting on story, dialogue or character development, Bay leaves us with little more than destruction and a hollow, clanking spectacle.

It's not that it's a bad film. But the bar is high, and it's lackluster and predictable, missing that alchemic blend of humor, pathos and indelible characters that give Pixar movies their brilliant shine.

Misanthropic to the extreme, Bad Teacher fails across the board.

For a movie that touts the importance of humanity, Green Lantern is a strangely lifeless spectacle.

Though it doesn't fully resonate as a romance, it is effective as a character study.

Predictable, but well-intentioned fun.

Though the lead actress, newcomer Jordana Beatty, gives a spunky performance as third-grader Judy, her character's borderline bratty charm wears thin fast. Mostly it's undercut by the movie's irritatingly antic slapstick style.

This sci-fi thriller has an engrossing plot and a strong cast of fully drawn characters. There's even a sweet youthful love story. In other words, it's a summer blockbuster firing on all cylinders.

What results is a disarmingly honest tale of affection, both romantic and filial.

This X- Men is indeed first class: an exciting, bold and thoroughly enjoyable summer blockbuster.

A shape-shifting film, it resembles a poem. At other moments, it is closer to a symphony. Most often, it approximates a fervent prayer.

Black is clearly suited for the role of a modern-day Inspector Clouseau, a hero clown who can't help but save the day.

Hangover II marks one of the most derivative sequels of the year: The opening and closing scenes are taken almost shot-for-shot from the original. Just substitute Asians for Americans, gross-outs for guffaws.

The story lacks honesty. For a film about the real problem of mental illness, it never feels authentic. Depression is not something neatly tied up. If this is meant as an allegory, it's vague and unconvincing.

The familiar dialogue here makes one long for something closer to the edginess of "Manhattan" or the offbeat humor of "Vicky Cristina Barcelona."

Here's how it goes down: 4 is better than 3, about the same as 2 and worse than 1.

Those looking to get a raucous laugh should say "I do" to Bridesmaids.

Speaking of that middle-finger finale, there is one redeeming trait: At least it signals the end credits.

As he did in "Stranger Than Fiction," Ferrell displays surprising range when he ratchets down the volume.

As wedding stories go, it's an improvement over the dreadful "Something Borrowed," though it doesn't have anything terribly new to say.

Bonds are tested and feelings hurt, but who really cares? The story takes predictable turns, embraces clichés and dodges all humor.

Though he looks every inch a brawny Norse god, Hemsworth is not just a hunk. His charisma and charming grin go a long way toward making Thor engaging.

Here's a by-the-playbook movie if ever there was one.