Oddly enough, though Land of the Dead is more clever and grand than Romero's early classics, it is not as haunting.

Ain't nothin' but a party, y'all.

If you can stomach the hard-R rating, this is a smart, sexy and funny sprint.

One caveat: The film has more blood-splatter than a dozen zombie movies. If you can handle that, Doomsday's drunken mash-up of futuristic and feudal is surprisingly satisfying.

The tone is surreal, at once visceral and clinical, making Bronson an unsettling experience: savage, disturbing, and yet somehow fascinating.

Part of Glee's charm has always been its innocent amateurishness, its just-folks aura. The live show clings to that conceit - with some pyrotechnics thrown in.

A sturdy and cohesive representative of what tends to be a flimsy and tawdry B-movie genre. It even has a moral: People who live in wax houses shouldn't start fires.

This remake is about half of a very likable film. But in movies (as in auto races) it isn't how you start, it's how you finish. And Herbie should have kept something in the tank for the late going.

Thanks to director Roger Kumble's breathless pacing, Just Friends manages to outrun most of its flaws. And its likable leads - the coolly clownish Reynolds and the feline-faced Smart - fill this empty Christmas stocking with glee.

A monster chiller sequel that is visually spectacular but rather overburdened with story.

BMH2 is a harmless, genial outing, a comedy that is amusing without ever rising to the level of funny. You sit through the film with a smile on your face, waiting for the laughs that never come.

An extremely broad and sometimes crude comedy.

Harlin, with his customary visual brio, has created a film that is deliriously watchable. It's just not all that interesting. In the end, The Covenant is simply a glossier version of TV's "Charmed."

The sequel is a dizzying succession of pranks, Candid Camera-like sketches, and, that old crowd-pleaser, the boys actively courting their own grievous harm. This is what you get when a generation grows up watching far too many "Roadrunner" cartoons while sitting on the couch eating bowl after bowl of Lucky Charms.

Like "Man on Fire," the previous collaboration between Washington and Scott, Déjà Vu is stunning but poorly paced, a film that manages to be both captivating and frustrating.

Succeeds because the action is supercharged in a style that recalls Mel Gibson's apocalyptic classic, "The Road Warrior." The characters are more than cartoonish, and the plot grips the road. But it's Diesel who provides the nitro injection

A brazen, earsplitting, eye-popping, oddly satisfying action extravaganza, though it veers wildly off-target in its second hour.

Like "Jumanji," Shorts runs out of momentum before it's half over. That leaves it treading slapstick and killing time until its strained and preposterous big finish.

Dopey but resourceful yukfest.

Invention - a mash-up of two Jim Carrey comedies, "Liar Liar" and "Bruce Almighty" - flirts with being a one-gag pony. Shocking sincerity loses its comic impact after a while.

An engaging if transparent tearjerker of the first water.

When remaking a popular film, you must remember this: First, do no harm to the original. Arthur accomplishes this, with Russell Brand slurring his way neatly through the title role.

Judy Moody has some enjoyable ingredients. The cast, for instance, rocks it, especially young Aussie actress Jordana Beatty as the title character, a bottle rocket with unruly red hair.

Brannaman is a fascinating character, but Buck is so tightly focused that only avid horse lovers will find it appealing.

There's not much to this movie beyond a slick procession of dark, gleaming violence. But Selene lovers would pay good 3D money to see her fight a parking ticket.

Part of Me is Perry's visually spectacular testimonial to her own indomitable determination to follow her dreams. The fact that the film lends itself to some really colorful Pinterest pages is merely a bonus.

It's like a bath of stale testosterone as these Hollywood tough guys from the '80s swap references to their most famous movie lines. Their individual entrances are the primary pleasure of The Expendables 2.

For sci-fi action fans, it's an instant classic. For everyone else, it's a dark, bloody mess.