Moon, a superb first feature directed by Duncan Jones (David Bowie's son) and starring an impressive Sam Rockwell, is an intelligent, evocative and deceptively low-key sci-fi adventure.

Director Todd Phillips (Old School) has a knack for extreme scenarios and outside-the-box casting. He has made a movie that is consistently funny from start to finish.

Cloying and dated movie.

A movie with memorable and engaging performances.

It's hard to know just who the intended audience is: The movie is too surreal and bawdy for young kids and too silly for anyone older than 25.

Easily the summer's, and probably the year's, most enchanting movie, Up is a buoyant delight.

Drag Me to Hell is unlike any scary thriller in a while: frightening, frenzied and fun.

Though events unravel predictably, the film is profoundly affecting, thanks to a well-written story, rich characters and superlative acting.

Dance Flick occasionally hits its mark with nimble execution. But too often it stumbles clumsily into bad taste.

Resembles an enthusiastic but undisciplined child running amok through an exhibit.

It's hampered by a listless quality and a one-note performance by porn-star-turned-actress Sasha Grey.

A touching and illuminating documentary.

It's a pleasure to watch such top-notch actors deliver Coward's sparkling wit.

The predictable story feels as if it were written by a computer program labeled "sequel."

Angels doesn't know when to quit: Just when you think it's over, it continues.

The Brothers Bloom has it all: charming romance, jaunty adventure story, witty dialogue, gorgeous cinematography and superb performances.

It's a sweetly strange yet uneven comedy, with a charming lead performance by Steve Zahn offset by a lackluster one from Jennifer Aniston.

Each character is decent and likable, as well as complex. The four main portrayals are outstanding -- so natural and believable that you are drawn into their story immediately.

Moody, provocative and intellectually ambitious, Adoration is primed to elicit impassioned discussion among audiences.

If you'd like to know about the famously eccentric psyche of surrealist artist Salvador Dali, whom Pattinson plays, you're better off consulting written biographies. Little Ashes does nothing to illuminate the iconic Spanish artist.

Next Day Air can't decide whether it's a broad stoner comedy or a gritty Tarantino-esque action flick. The humor is there, but violence brings the laughter to an abrupt halt.

Rudo y Cursi (which roughly translates to tough and corny) is more raucous and slight than the contemplative "Y Tu Mama," but it is an undeniably entertaining rags-to-riches-to-rags comedy.

When it comes to sheer spectacle, Star Trek, as re-imagined by J.J. Abrams, delivers.

It's an unconventional premise: that aliens live in harmony and humans are the warmonger invaders. But it's not that simple.

Ghosts can't make up its mind whether it wants to be a racy raunchfest or a sentimental celebration of soul mates. So it ends up being a sappy, sleazy hybrid.

It might be that Jarmusch (Broken Flowers) is experimenting with creating a pastiche of dreamlike sequences that audiences can interpret as they wish. Or it may be merely pretension and hubris that fuels such a stylized and insubstantial story.

Although it's a quintessential popcorn movie, Wolverine is not mindless. Hood and Jackman bring depth to a comic-book tale of anti-heroes with anger issues.

Fighting seriously lacks punch.