The audience is never seen and only faintly heard. This puts a lot of visual pressure on a very inward performer. Young is a beast onstage, to be sure - he seems to re-grow an appendix for each song.

There is enough lurid, ludicrous subtext in the material to keep fans of such things happy. As trash, this is top of the line.

If only the director had learned Mr. Han’s most important lesson: Being still and doing nothing are two very different things.

Garcia, despite creating yet another vibrant canvas for his actors, deflects the burden of this toughest and most modern of familial conundrums, offering instead the bland, regressive ideal of motherhood as not only redemptive but required.

Amid the macho poses and reloading of his unbelievably enormous weapon, I was distracted by the notion of Brody’s participation as a kind of privately satisfying performance art (a similar impulse found James Franco doing a guest stint on "General Hospital").

Loose, flinty, and a little in love with itself, Perrier’s Bounty struts the fine line of self-consciousness drawn by neo-gangster capers like "The Usual Suspects," "In Bruges" and "Lock, Stock and Two Smoking Barrels."

The film's bleak conclusion becomes unbearable in context: Hypatia's death also signals the end of women in positions of intellectual prominence and the beginning of a period known -- not coincidentally -- as the Dark Ages.

8 is most coherent as a chilling confirmation of both the mind-warping power of an institution like the Mormon Church and the extent to which politics is, above all, a marketing game.

Though the movie is largely vanilla in its pleasures, film lovers will eat it up.

An earnest and occasionally poignant attempt to penetrate Rebney's potent man-on-fire image and explore the impact of becoming an Internet sideshow.

The vehicle may get a little jacked up along the way, but its passenger arrives in style: The kid's a star.

If you're like me, and you find yourself retreating to a safe place in your mind whenever human beings are being graphically decapitated on screen, you'll spend the majority of Centurion, horror maestro (The Descent) Neil Marshall's Roman bloodbath, on psychological lockdown.

Because of the movie's episodic structure and lack of expository detail, the visuals bear the greatest narrative burden.

The result is more fancy than funky, but the directors' aim is true and occasionally hits its mark.

Wait a second, is this a horror movie or an episode of The Hills?

Built for speed, and for an action-savvy audience who can appreciate a throwaway vengeance flick for exactly what it is.

The story had great optics but not a lot of action, I suppose, though as a child who walked around in towel-fashioned headdresses to simulate the long hair my mother wouldn't let me have, Rapunzel's was the story I longed to thrill to on the big screen.

Well-paced, well-performed and full of visual wows, The Voyage of the Dawn Treader bobbles a hectic story by stopping just short of committing to its grounding themes. Its hardly sacrilege, but it does seem like a shame.

In its most tiresome moments, Noodle Shop overestimates the wit of its formal exertions, and feels less like a film than an exercise that will leave fans of the original comparatively cold.

Too often the story feels like it's being mined for recycled beats.

Most successful are the scenes involving Marcus and Iris, a 10-year-old girl who grew up fatherless and watchful of her tumultuous surroundings.

Timoner attempts - with talking heads, travelogues, and a little alarmist flair of her own - to articulate Lomborg's central idea that not doing enough good might be the same as doing harm.

Prom has sweetness, nonthreatening conflict, and enough personality to distance it from the chilling anodyne of Disney's television vehicles.

I salute the effort to go somewhere strange in Mars Needs Moms; if only a fully realized idea - and not the same, barely concealed right-wing rap, different planet - had been the destination.

As in "Country Strong," Meester's crack timing and irresistible poignancy illuminate a part that would leave other actresses simpering themselves off the screen.

Divided into three chapters in a largely unsuccessful attempt at structure, the voice and the style don't combine as explosively as they should to pick up the material's slack.

As it is, The Devil's Double, a handsome and occasionally dazzling thriller with at least one dynamo performance from its star, is ultimately dominated by its style.

Inter-chimp and territorial fighting are facts of nature, but the extreme anthropomorphism of Chimpanzee makes what is natural feel bizarre.