It's breezy stuff, to be sure. And while English is far from becoming the Pink Panther for the Facebook generation, Atkinson has a breezy rapport with junior Agent Tucker (Daniel Kaluuya) that's reminiscent of Peter Sellers' Inspector Clouseau and his relationship with sidekick Kato.

In Time has about 50 minutes of good movie in it. Alas, the sci-fi thriller runs nearly twice that length, and despite a terrific concept that could make for an "Inception" for 2011, we get "Logan's Run" meets "Robin Hood." And not the good parts.

A Dangerous Method has plenty to say about sex, but it lacks much fire for it.

Just earnest enough to blend its religious theme with a beer-chugging hero for a surprisingly contemporary look at faith.

One of those movies that makes for a fantastic trailer. Much beyond that can feel like repeat viewing.

A stylish slasher of a movie, a monster flick that does its vampires right, if not their real-life counterparts.

Maintains the franchise's knack for getting kids right.

The first half of Taken 2 is a serviceable action flick, but the second half descends into cliches.

When the comedy connects, it can deliver with funny force

Preposterous, goofy and a clear ripoff of “Planes, Trains and Automobiles,” Identity still manages to make off with just enough laughs to work, thanks to the wondrous McCarthy, one of the few actresses in Hollywood allowed to showcase her wit and charisma as much as her physique.

A more sure-footed shoot-'em-up that finds some heart, wit and perhaps enough momentum to spawn a formidable action franchise.

For a movie with a star wrestler at the center of it, Legendary doesn't pack much of a punch.

Just as its characters need a reason to live, Go needs a reason for audiences to watch. Neither find much satisfaction.

It bristles with exuberant numbers that strain beneath the weight of cliché.

This just in: Morning Glory can't decide whether to skewer the morning news or wallow in its pap.

Far-fetched is fine in most action flicks. And it would work here if Days were a straightforward police story.

A mishmash of horror and history genres that's not as bad as its trailers but ultimately is dragged down by, of all things, its star.

A flimsy, occasionally spooky demon tale.

Never works as a gum-snapper concert movie and does provide a glimpse into instant stardom in the Twitter generation.

Four is so cobbled with bits of other sci-fi and comic-book movies, there's little to distinguish it.

You have to give director Jonathan Liebesman some points for sparing no shell casings or standing buildings to hustle us through the film's languorous two hours.

You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.

Hangover II marks one of the most derivative sequels of the year: The opening and closing scenes are taken almost shot-for-shot from the original. Just substitute Asians for Americans, gross-outs for guffaws.

Smurfs is utterly kid-friendly.

Glee the TV show has become a cult phenom with three essential ingredients: whip-smart kids, adult-sized issues, all blended to sugary pop tunes. About a third of those components made it into Glee: The 3D Concert Movie.

Part horror film, part space thriller and all gore-fest, the movie ends up being a lot like its protagonist: a mess of a monster that stretches itself too thin to scare much.

Tower Heist feigns being an "Ocean's 11" for schmucks, but plays like a retread of "48 Hours."

What undercuts sharper than Poseidon's trident is a script that sees its characters as cardboard, not flesh and blood. For a film meant to be spectacle over substance, it's not a fatal blow. But it is a mortal wound.