Rebel Wilson is the peroxided Aussi who stole scenes as Kristen Wiig's roommate in "Bridesmaids," and this is the role that will turn her into a star.

Jaden Smith is destined to be a star by the force of will (and wallets) of parents Will and Jada Smith, both producers on The Karate Kid. But he's also got the raw material.

For the small but enthusiastic documentary crowd and the comic's diehard fans, it's a must-see.

What makes Forte so funny is that he stalks through the flick cocksure and utterly deadpan.

Smart, empathetic and wholly believable.

This documentary on one of the most universal, photographed, analyzed, opined upon and slavered over human experiences manages to astound.

Ford is hilarious and brooding, deeply wrinkled and deeply intimidating. He's got the best lines, courtesy of screenwriter Aline Brosh McKenna (of the repellent "27 Dresses" and the much better "The Devil Wears Prada").

Adam Green's inventively gruesome slasher is the widest unrated release in 25 years.

Every frame of silent, lip-biting, pent-up tension in the series has been holding its breath for this -- a 600-minute soap opera suddenly exploding into a Grindhouse slasher.

Meet the new face of superheroes: Marc Webb's totally teenage and totally fun take on the Spider-Man franchise.

Despite all the boobs, The Change-Up is very fair to its female characters-well, at least to Mann and Wilde, who both ring true, even if Wilde is almost too good to be true...It sounds like a trifling detail, but those details are sorely missing from most "date movies," in which even the women laughing in the audience exit feeling like they're the butt of the joke.

Why is Emmerich elbowing his way into the conversation about Shakespearean authorship? Because the debate is explosive - and he can't resist packing on a few more pounds of dynamite on his confident drama of incest, greed and beheadings.

This over-the-top sequel caters to the lowest common denominator in the best possible way, and it's so fully committed to brainless bombast that it muscles audiences to applaud by sheer force of will.

Esparza's cast of unknowns is so fresh and raw that the drama could be mistaken for a documentary if the camera work weren't so controlled.

Eclipse has its cheesecake and eats it, too.

Two hours of femmepowering wish fulfillment.

The best parts of Sparling's script play like an absurdist snuff film.

An odd little film that aims only to please itself.

Like Todd Haynes' "I'm Not There"-which never once came out and said the name "Bob Dylan"-Nowhere Boy bites its tongue and refuses to say "The Beatles."

In its small moments, say when Walhberg sighs that his robe misspells "Micky," The Fighter feels clued-in to the very small, very tough world of a man trying to make his way out of his block-and after getting to know his family, you want to help him pack his bags.

Country Strong is a charmer that makes you forgive all of its false notes simply because the talent plays them with conviction.

There's plenty of atmosphere and awe, even if it's in the service of a story that starts rote and finds its sea legs only when half the divers have sunk their bones to Davy Jones.

Jones delivers her line readings so robotically that even her truths sound like lies. She's got the look of a Hitchcock blonde, and the movements of a deer in the headlights. Even her kisses look fake.

Cumberbatch, a tweedy Brit with an M.A. in Classical Acting and a face like a monstrous Timothy Dalton, has beefed up to become a convincing killer. He's brutal and bold, and the film around him isn't bad either.

Step Up Revolution has again found some of the most kinetic talents in the country.

Is the result - a slapstick, bizarro melodrama where Ferrell plays the Mexican born and bred scion of a wealthy farmer - meant more for Spanish speakers or stoned and giggly Americans? It's a tough call.

This is a curio that demands to be seen.

The cast keeps us invested in Filly's furious resurrection.