There's almost nothing you haven't seen before in this slick, preposterous, but occasionally exciting thriller. An angry Ford absorbs, and dishes out, massive punishment for a fellow his age, while Virginia Madsen is sadly wasted as his wife.

Holofcener gets the milieu beguilingly right, but the abrupt ending leaves you wanting more.

Ratner's version is friskier, shallower-and more fun.

Bizarre, edgy and haunting tale.

The Madame Bovary-in-suburbia motif may sound familiar, yet the unusual mix of satire and melodrama feels fresh. Not everything works (beware the football scenes), but this adaptation of Tom Perrotta's novel is hard to shake off.

It's preposterous, but never dull: Scott whips the action into a taut, tasty lather.

Still, even if the movie's vast reach exceeds its grasp, it's a spellbinding history lesson. The Good Shepherd demands you watch it like a spy: alert, paranoid, never knowing whom you can trust, or who will stab you in the back.

There are times when you wish the movie was a mini-series. This is meant both as a tribute, for the Ganguli family is so engaging you'd be happy spending much more time with them, and an acknowledgment that a tale this expansive doesn't always fit comfortably within the constraints of a feature-length frame.

Kasdan has made a winning if overly pat first feature notable for its keen ear, its preference for character over plot and its refreshing modesty.

This one is all about the boys. But as glad as we are to see them, watching the third installment is like attending a college reunion too soon after the last one: after the initial welcome, there's not all that much to say.

Like many of Winterbottom's movies, it falls a step short of its full potential. Its tact is both its strength and its weakness. The climax feels rushed: it's the rare movie these days that feels too short.

The simplicity of Sicko's argument is also its power.

What this version offers is the chance to watch Russell Crowe and Christian Bale—two of the more charismatic, macho leading men around--duke it out psychologically, while another fine but less well-known intensity artist, Ben Foster, steals

It's the casting of Iraq vet and non-professional Jake McLaughlin as Specialist Bonner, who fought alongside Deerfield's son in Iraq, that strikes a deeper emotional chord. His scenes with Jones, fraught with a complicated mix of bitterness, concern and guilt, are the best things in the movie.

As a genre movie, The Kingdom delivers atmosphere, heroic American derring-do and some decent thrills, though director Peter Berg's approximation of a jerky documentary style suffers from its proximity to the more textured "Bourne Ultimatum."

A return to form after the flat "Life Aquatic," Darjeeling has a lightweight, coloring-book charm that deepens and darkens after these odd, privileged ducks are thrown off the train.

Gillespie’s movie walks a delicate line through a minefield of potential bad taste. Directed with patient, low-key sensitivity, it never goes for a cheap laugh at its protagonist’s expense.

There's a great story here, but it feels like American Gangster hasn't been mined for all its riches.

I'm not sure what kids are going to make of Bee Movie. The shiny, vivid computer-animated images pop off the screen with the vibrancy of the Pixar movies, but the understated, throwaway humor is pure Seinfeld: adult, observational, feasting on the small ironies of human (make that "beeish") behavior.

Intelligent, deadly serious, made in a spirit of patriotism and protest, Redford's movie is more civics lesson than drama and doesn't pretend otherwise. It is what it is: a call to action.

Forster's solid, unpretentious movie hits its marks squarely, and isn't afraid to wear its heart on its sleeve. Only a mighty tough viewer could fail to be moved.

Of course, hanging over this ironic tale is the deeper historical irony--that many of the "good guy" rebels Charlie is funding (and we're cheering) will become our mortal enemies...It's as if "Titanic" ended with a celebratory shipboard banquet, followed by a postscript: by the way, it sank.

Wouldn't it have been more fascinating if, just once, they had to argue, as all debate teams must, against their own beliefs? That would have really tested these amazing kids' mettle--and the movie's too.

If Forgetting Sarah Marshall doesn't reach the inspired heights of "Knocked Up" or "Superbad," it runs a very respectable second.

Thanks to Ejiofor's wonderful performance--his easy, commanding body language wordlessly convinces you of his character's nobility--and Mamet's knowing take on the arcane world of Brazilian jiujitsu, Redbelt never loses its muscular hold on your attention.

Speed Racer creates a timeless, visually seductive world suspended somewhere between the pop '60s and the sci-fi future.

The remarkable thing about Jarrold's movie is how much of the book it manages to capture.

For a number of reasons The Duchess isn't all it could have been. It's fun, but falls short of fabulous.