Talk to Me speaks powerfully to audiences with its potent blend of extraordinary performances and engaging soundtrack.

The special effects continue to be masterful, but villains are given a new twist, and Order of the Phoenix is all the more fun because of it.

For those seeking an alternative to giant robots and flying wizards, there's an amusing Australian comedy that might be just the right panacea for blockbuster overload.

This is all about escape. And as prison-break movies go, Rescue ranks among the best.

Yes, it's loud, explosive and silly, but it also perfectly embodies the concept of a summer blockbuster with its simple good-guys-vs.-bad-guys plot, cheeky humor and flawless special effects.

The characters and plot lack even a shred of credibility.

Highly entertaining and informative.

Like the best French cuisine, Ratatouille is ambitious and delightful.

Diverting enough if you want to see plenty of fast-paced action sequences, some heart-stopping chase scenes and plenty of things blow up.

At his best, King's most effective creatures are not the ones behind creaking doors, but inside crooked minds.

It's an almighty, humorless bore.

Emotionally and viscerally compelling and retains a suspenseful, edge-of-the-seat quality.

Surely there aren't many emotionally fragile mobster stories left in the Hollywood arsenal. But at least Kill is a pretty good shot with the laughs.

Doesn't quite live up to the billing, but it improves mightily on the original. And the superhero family can thank its new addition for the upgrade.

Nancy Drew is 16, dresses like she's 12 and acts like she's about 45. And therein lies the problem with this adaptation of the beloved book series. The movie can't quite decide how old it wants to be -- or who it's for.

Unlike so many big-studio films that pass off models in horn-rimmed glasses as nerds, this little New Zealand gem embraces the inner geek and, just as effectively, celebrates misfit love.

As frothy and smooth as a chilled margarita on a hot Vegas night.

The filmmakers behind the "Saw" franchise must love to see a movie like Hostel: Part II. Compared to this Eli Roth fetish video, the "Saw" films are Oscar bait.

First they marched, then they tap-danced. Now they ride the waves on souped-up boards. It really doesn't matter what stunts they try to pull off: Who can resist an animated mockumentary in the style of "This Is Spinal Tap" starring the black-and-white big birds of the moment?

There's a riveting tale within this awkward litany of pivotal moments. Still, despite the film's uneven nature, Cotillard's extraordinary performance is worth experiencing.

Gracie is ably played by Carly Schroeder, and the tale of her uphill battle to play competitive soccer is based on the youthful activism of actress Elisabeth Shue. Shue was the first person in her New Jersey community to break down the hurdles erected to keep girls from the sport.

What makes the movie so winning are its endearing and relatable characters who spout believable dialogue and amusing banter, steeped in clever pop-culture references and sharp observations of human nature.

Far-fetched, flimsy and uninvolving.

Crazy Love is pulp non-fiction.

Bug won't get under your skin as much as it will assault you with its ghastly claustrophobic drama and over-the-top performances.

The pirate ship has hit foul waters, and even the sharp wit and charm of everyone's favorite buccaneer can't save it.

Its strongest asset is the stunningly poetic cinematography by Thierry Arbogast.

The world of the fanciful fable looks particularly vibrant this time with its signature blend of realism and fantasy. It is a pleasure to watch these fairy tale folk be themselves -- yet again.