Can a movie about global warming genuinely be called lighthearted? If so, Daniel B. Gold and Judith Helfand's Everything's Cool comes as close as one imagines possible, essaying yet more inconvenient truths about the potential future of our planet in the same buoyant, irreverent style the filmmakers brought to their last activist docu, "Blue Vinyl."

Resultant picture -- one of Herzog's best and most purely enjoyable -- may lack the built-in curio factor of "Grizzly Man."

Though an admirable attempt to allow the characters to tell their own story in their own voices, docu may be a bit too freely associative, as it becomes difficult at times to identify individual characters... Picture's second half, which proceeds in a more linear fashion, is resolutely gripping.

Though high-octane stunts have always been the primary selling point here, Lin and veteran “Fast” screenwriter Chris Morgan have labored to add depth, dimensionality and inner conflict to the now-sprawling cast of recurring characters — so much so that, at times, “Furious 6” plays like a glossy gearhead melodrama.

Emerges as a surprisingly smart, gripping and imaginative addition to the zombie-movie canon, owing as much to scientific disaster movies like “The China Syndrome” and “Contagion” as it does to undead ur-texts like the collected works of George Romero.

A Red Dawn for the Tea Party era, Olympus Has Fallen is pretty ridiculously entertaining—or at least entertainingly ridiculous—for long stretches, dulled only by the realization that there are many parts of the country where this will play as less than total farce.

The Place Beyond the Pines is a much bigger canvas, and scene by scene it can be riveting...But the disparate pieces never quite jell; the movie is all trees and no forest.

Festooned with cute, mugging kids; lots of jazzy redos of beloved Christmas tunes on the soundtrack; and enough tug-at-your-heartstrings moments to make an entire theater feel warm on a blustery winter afternoon.

Gets an ambitious, sometimes inspired but ultimately less than satisfying screen treatment from Roger Avary.

All the trappings of an energetic, extreme-sports adventure, but ends up more of a creaky "Pretty Woman" retread, with the emphasis on self-empowering schmaltz and with the big-wave surfing that gives pic its title seemingly an afterthought.

Assembled in a straightforward, television-style presentation that gets the better of it.

Pretty formulaic stuff: bland self-empowerment tinged with warm fuzzies in all the right places. But what makes this "Somebody" something is Pasquin's deft touch and understanding with the material.

Attempts to delve beneath the surface of Hollywood's rampant narcissism and fascination with technology, but ultimately feels like just one more in the long line of films this year about the business of making movies.

Despite the intriguing set-up, there's something unambitious and scaled-back about Star Trek Nemesis, so that most of the time it feels like a slightly suped-up episode of the "Next Generation" TV series.

A cobwebbed, mummified horror entry that makes obvious, cartoonishly grotesque demands for attention.

Fascinating and frustrating in nearly equal measure.

An odd concoction: an English-language movie made by Dutch filmmakers working with an American cast on location in Russia and Mexico. That strangeness, combined with sharp casting and affectionate performances, is a big part of "Affair's" charm.

A routine memory piece about long-buried family secrets that bubble back to the surface to wreak havoc.

While the respectable result is a more meaningful film than just about anything Mandoki worked on during his 17 years in Hollywood ("Angel Eyes," "Message in a Bottle"), pic suffers from an overindulgence of triumph-over-adversity cliches and a meandering narrative.

Although in many respects a more stylish, authentic, tougher-minded film than "Hotel Rwanda," director Michael Caton-Jones' respectable and well-intentioned Beyond the Gates (aka Shooting Dogs) still falls into the trap of filtering an inherently African story through the eyes of a noble white protagonist -- in this case, two of them.

Less outre than "Gummo" and "Julien Donkey-Boy," Korine's most lavishly produced pic to date begins as a sweet-tempered tale of social misfits-turned-celebrity impersonators, but falls short of its ambition to say something meaningful about the obsessive nature of celebrity culture.

More often, Gatsby feels like a well-rehearsed classic in which the actors say their lines ably, but with no discernible feeling behind them.

Thanks to some accomplished hocus pocus and an appealing cast, this would-be “Ocean’s Eleven” of the magic world remains watchable throughout, even as it plods along without ever quite fulfilling its potential.

This big-hearted underdog comedy from director Shawn Levy is, much like its two leads, exceedingly affable and good-natured despite being undeniably long in the tooth.

Two superb, nervy and delicately nuanced performances by newcomers Clint Jordan and Kirsten Russell enliven and momentarily elevate writer-director Joe Maggio's Virgil Bliss above the familiar post-prison-drama cliches to which it so strenuously adheres.