The original "True Grit" might have been eclipsed by John Wayne's larger-than-life persona, but the Coen brothers' remake is an ensemble piece that feels freshly their own.

Profound and superbly acted, with a moving script superbly adapted from David Lindsay-Abaire's Pulitzer-winning play.

Yogi Bear is a big boo-boo.

For those in the audience, it's best to just sit back, drink in its virtual dazzle and not ask questions. The story is beside the point in this sleek-looking reboot. It's all about the whiz-bang special effects and the return of Jeff Bridges - always the coolest guy in any space, cyber or otherwise.

How Do You Know must have started with a good idea that got lost in the translation from concept to screen.

Has some funny moments, silly mispronunciations and comical socio-political references. But it suffers from being the second animated movie this year to feature a dastardly villain for a hero.

More a matter of chemistry than deadlines.

Scott paces the film like its mechanized star: deliberately and, ultimately, with enough speed to keep its passengers satisfied.

Zwick's "Once and Again" and "Thirtysomething" portrayed emotion more honestly than many TV shows of their time. But in Love and Other Drugs, he unevenly weds the satirical and the sentimental.

The perfect vehicle for Johnson's charm and talents is still out there. It's certainly not in the muscle car he pilots in Faster.

Though not exactly innovative, Tangled has a snappy pace and the Broadway-style appeal of classic Disney fare.

It bristles with exuberant numbers that strain beneath the weight of cliché.

The film simply doesn't come together fluidly. Smaller parts aren't on par with the lead role, and special effects are overdone and cheesy. At times, the essence of Shakespeare's poetry is drowned out.

Visionary director David O. Russell so deftly weaves the family's story that we, too, are initially seduced by Dicky.

It's serviceable, but certainly not much fun.

It may be the only movie ever to feature a bad performance by Johnny Depp, one of the best actors working in films.

Menacing and meditative, Hallows is arguably the best installment of the planned eight-film franchise, though audiences who haven't kept up with previous chapters will be hopelessly lost.

Let's say it without equivocation: Colin Firth deserves an Oscar for his lead role in The King's Speech as the stammering King George VI.

Barrels around in manic fashion much like Carrey does in most of his movies. He's meant to be a fool for love, but mostly he's just bonkers.

To induce a state of dread and mesmerize with beauty is a rare, paradoxical achievement.

Who had the lamebrained idea for a post-apocalyptic 3-D Nutcracker that is lacking any trace of ballet?

Far-fetched is fine in most action flicks. And it would work here if Days were a straightforward police story.

More admirable than riveting, Fair Game works best as a portrait of power games at the highest levels.

This just in: Morning Glory can't decide whether to skewer the morning news or wallow in its pap.

Only a truly visionary filmmaker could take a story largely set in a cramped canyon and give it a sense of openness and hope.

Kimberly Elise gives the best performance as a beleaguered woman with an abusive boyfriend (Michael Ealy).

Only two-thirds of this unlikely trio comes close to capturing the complexity of anguish and pain.

Has such dull patches that as a Volvo races to the scene of a massive shootout, a distracting thought comes to mind: Can Volvos even go that fast?