The character played by lead Paul Giamatti is a dead-on Shyamalan protagonist: emotionally distanced and something of a train wreck.

Monster House may be the first true horror film for children.

My Super Ex-Girlfriend manages to do what the recent crop of crime fighters haven't: show us how much fun it might be to fly, or have super strength, or look buff in spandex.

Almost in spite of itself, Little Man manages to deliver big laughs. It's not enough to make it a consistently funny movie, but this one-trick pony from the Wayans brothers has flashes of humor and sincerity that almost save it from its disastrous ending.

You, Me and Dupree is a good idea badly executed.

It does deliver a combustible combination of ingredients for a summer blockbuster: a cornucopia of action and dazzling effects, some raucous humor and a large dose of Depp's winning charm.

Definitely not for everyone. It's a very bleak story with uneven pacing and a narrative whose jumps in time are confusing and occasionally infuriating. But the post-apocalyptic mood blends well with its uniquely stylized look and surreal story.

The comic appeal of The Devil Wears Prada is the cinematic equivalent of a size 2 - wafer-thin and ultimately lacking in meat and substance.

A rousing spectacle.

Fans of the cult TV comedy Strangers with Candy may be happy to catch any sighting of the silly escapades of Amy Sedaris' middle-aged ex-con junkie. But purists will prefer the Comedy Central episodes to this uneven film.

Despite its ultra-formulaic premise and juvenile sense of humor, there are a few laughs, and the movie's heart is generally in the right place, with the notable exception of racist characterizations of an Arab prince and Japanese businessmen.

A riveting and disturbing documentary that falls short of greatness by not providing enough insight into the characters. It is mostly intent on inciting a sense of outrage in the viewer, and it succeeds.

I'm Your Man movingly captures the artist's lifelong search for truth and beauty and his translation of it into song.

Has plenty of fast cars and revving engines. But unless you're a fan of that sort of thing, its stultifying plot and wooden acting is likely to make you drift - off to sleep.

It comes off like a coughed-up furball: a wan rehash with too many elements of the hard-to-swallow 2004 original.

One of the more befuddling movies of recent years. The premise makes no sense, no matter how you turn it around in your head.

What is missing in plot and character development is made up for in silly fun.

If it's challenges you're after, forget cracking "The Da Vinci Code." Wordplay captures the exhilaration that comes from navigating the ins and outs of complex puzzles.

Cars is a classic American tale firing on all cylinders and fueled by organic emotion and a lively sense of adventure.

At its best, it's a gentle meditation on mortality. But at weaker moments it feels meandering and strangely empty.

It captures an authentic feel-good spirit and inspirational message that most Hollywood movies barely approximate.

The devil has a new spawn, but this one is not nearly as creepy as its progenitor.

The Break-Up is not comical or romantic, and it's certainly not a date movie. Sitting through it is almost as painful as going through the demise of a relationship.

Has a couple of emotionally resonant scenes that build on the first two story lines. But it lacks the intriguing moody quality of the previous films. The mutants are more pumped up and angry this time, rather than misunderstood and conflicted.

Haunting and inspiring film.

Ron Howard has taken an intriguing page-turner of a story and re-shaped it into a bloated wannabe epic.

The vividly animated film -- based on a comic strip by Michael Fry and T. Lewis -- has an appealing balance of comic bits and exhilarating action sequences.

A darkly disturbing melodrama anchored by some powerful performances.