An impressively dark and well-crafted crime tale about, of all things, cattle farming and "the hormone mafia underworld."

This is purely warm, wonderful, wise and hilarious family entertainment that is fantastic movie fun for everyone.

A smart, winning and comic, if at times bittersweet, treat.

Although Westfeldt's sharp screenplay is mostly talk, it's very good talk.

An orgiastic barrage of violence, The Raid: Redemption is, at least in its finest moments, one of the most breathless, blistering action movies in recent memory.

A gripping new documentary that's essential viewing for anybody who believes that the impact of global warming is tomorrow's problem.

Lockout isn't high art, but it's ridiculous fun.

The kids, especially Néron and Nélisse are irresistible and supporting players are well-cast. Human dramas like Monsieur Lazhar are a rare breed these days and this exceptional example is one to be cherished.

With bubbles of nascent arousal frothing at the film's feminine surface, Moth Diaries' commercial potential is likely to hinge on whether or not audiences can stand to be confronted with the confusion they felt as adolescents.

Kids should especially like this magnificent and heartwarming look at the life of young Oscar.

The Pirates! Band of Misfits is one of the funniest animated films in years, or to put it in terms you scallywags can understand: it's a treasure trove of laughs.

It's a great time at the movies and a wickedly clever cinematic treat.

A superb vehicle for Sacha Baron Cohen's over-the-top socio-political outrageousness.

The director of quirky fare with a rabid cult-like following has made a charming, magical and really funny new work about two unique young kids discovering love over one unforgettable summer, and it's the director's most accessible movie yet.

Europe's Most Wanted is so full of laughs and great characters, it's easily the best in the series. Like "Toy Story 3," the Madagascar gang just gets better with time, and this new adventure is funny, exciting and heartwarming.

A charmingly lo-fi love story.

This film stands out as one of the year's best.

By way of remarkable sleight-of-hand, Steven Soderbergh's Magic Mike both is and is not the freewheeling, fun-loving, male stripper extravaganza its trailers peddle.

Movies don't get much funnier than Ted.

Meet the new face of superheroes: Marc Webb's totally teenage and totally fun take on the Spider-Man franchise.

Savages is one of Stone's best movies with a ménage et trois love story giving some human dimension to its three young leads.

Red Hook Summer begins as a gentle character comedy and then erupts into a sudden reversal that is possibly the most powerful and disturbing sequence Lee has ever created. It's a film that makes you laugh, weep, rage and gasp, and, love it or hate it, you will definitely talk about it afterward.

This smart and sophisticated romp takes surprising directions as it examines the creative process of writing, the delicate balance of relationships, and the mysteries of men and women.

Journalist and director Allison Klayman doesn't mask her awe of the man, who comes off as a cross between a wise Buddha-figure and Santa Claus - he's made for history, and he's making it.

Deftly veering from comedy to drama, director David Frankel (who also guided Streep to one of her 17 Oscar nominations in "The Devil Wears Prada") never loses sight of the humanity and universality of the situation.

Think of it as someone making a peanut butter and chocolate swirl of Mad magazine and The New Yorker - two unique tastes making one great treat.

It's Cronenberg's most willfully weird movie since "Spider," and it should prove a tough sell despite Pattinson's ample star power.

This over-the-top sequel caters to the lowest common denominator in the best possible way, and it's so fully committed to brainless bombast that it muscles audiences to applaud by sheer force of will.

A darker and more ambitious meditation on impermanence, Samsara relies on blunt force and unforgettable imagery, overcoming the hazy logic of Fricke's editing to earn your awe.

Filled to the brim with top-shelf performances from an impressive cast, and with enough well-executed (and often shocking) violence to keep moviegoers of all stripes wide awake, Lawless is a minor classic in the making.

The Perks Of Being A Wallflower is a sweet surprise, a funny, touching terrific and quite wonderful movie that gets it all right about the joys and heartbreaks of growing up circa 1991.

Easily one of the year's best films and one of the best ever in the well-worn cop genre.

Clint Eastwood and a superb cast hit it out of the park in Trouble With The Curve, a great entertainment filled with heart, humor, family drama and fantastic acting.

There's more to it than a black-and-white political conclusion, and the laundry list of California documentary heroes in the credits suggests this film is humanist before it's agenda driven.

Sure it's fun - and painful - but it's not thin.

Arnold's newest testament to passion and squalor strikes a tone somewhere between Cary Fukinaga's emo "Jane Eyre" and Sophia Coppola's revisionist-hip "Marie Antoinette."

The emotional journey is articulated with so much nuance, and such a vigorous belief in human possibility, that everything The Surrogate touches becomes its own, and is made new.

This is not really a biopic of the great President as the title might indicate, but rather a fascinating, savvy look at the inner-workings of the political process and how things in the White House get - or don't get - done.

Every frame of silent, lip-biting, pent-up tension in the series has been holding its breath for this -- a 600-minute soap opera suddenly exploding into a Grindhouse slasher.

A "Good Evening" indeed at the movies.

One of the best kid's films of the year, full of delight and action and charm and comedy.

Audiences smart and tough enough to seek the film out will have their own reward.

Shutter Island is a bear hug to cinema while it’s also an occasionally tart valentine to genre.

The Book of Eli takes the violent, gritty feel of a spaghetti western, marries it with elements of "The Road," places it in the future and gives it a spiritual twist.

Like "The Blind Side," this is an inspiring and compelling true story. Harrison Ford is at the top of his game in this remarkable film.

If it is possible to watch this work as a movie rather than using it as a referendum on its maker’s guilt or innocence, the audience that craves mature, sophisticated and grown-up entertainment will find much to admire here.

The film can be dry and a little repetitive. For all of that, it still manages to generate a surprising measure of suspense and it produces outrage in abundance.

While it is captivating stylistically, and the primer on the China/Taiwan relationship is great fodder for political geeks, even in its deepest moments of intrigue and pathos this is a cable TV movie at best.

The unexpected directions in their family dynamics and unflinching scenes of the volatile Marc keep Prodigal Sons absorbing.

Severe Clear provides a view of the early days of the war and reminds you of all the promotion and idealism that conflict came with.

It’s a marvelous document of a still vital musician whose unbending indifference to pop fashion has proven him more creatively durable than any other figure from the golden ’60s moment that gave birth to his career.

Writer/director Tim Blake Nelson manages a finely tuned balance that is rare in cinema. Moving from the far reaches of comedy to the nether regions of drama, he never skips a beat or sets the pitch too high.

Though less splashy than "Red Cliff," or for that matter "Hero," or even "Crouching Tiger, Hidden Dragon," the picture nonetheless embraces a classic melodramatic approach to an otherwise familiar Ching Dynasty tale, delivering one of the most bracing Asian period films in many years.

A powerful and provocative look at the seismology of the Iranian social order and the connective tissue that sustains Iranian women in particular.

Performances are generally first-rate with Hopkins exhibiting an ease and laid-back approach that serves Adam perfectly.

Fans of the first will not be bored. This Iron Man may not be the Godfather II of comic book movie sequels critics hope for but it is a complete blast anyway.

Listen closely, however, and amidst the zingers and world-weary chatter, Chekhov's generous humanism comes through loud and clear.

Mixing old-fashioned content and state of the art effects, this Jerry Bruckheimer production trades ‘pirates' for ‘princes' to revive the swashbuckling, sword fighting spirit of the sort Douglas Fairbanks or Errol Flynn specialized.

Two hours of femmepowering wish fulfillment.

A fascinating, strangely funny and remarkable film about events so incredible you'll likely have a hard time believing what you see onscreen.

This revved-up movie version offers a perfect mix of non-stop thrills and clever dialogue, mixed with an engagingly light touch. Nobody is taking anything too seriously here, and that's the fun of it.

Stylish, globe hopping, action-packed comedy that starts at full blast and never lets up.

An entomologist's delight, Jessica Oreck's movie about Japan's insect mania is worth watching even if you're repulsed by creepy-crawlers.

The Father of My Children is a protean charmer just like Grégoire Canvel, the title character modeled on the late Humbert Balsan.

In his densely constructed and pretty damn brilliant film The Juche Idea, Finn takes aim at North Korean president Kim Jong-il's theories on cinema and how its ultimate purpose is to advance political ideology and party loyalty.

Educational rather than entertaining.

While it isn't the only adaptation to give flesh (or ink) to Cleary's indomitable misfit, it's the most accessible retelling to date.

Eclipse has its cheesecake and eats it, too.

Predators is sometimes silly and hardly original, but it delivers the thrills.

Using clips from home movies, newsreels and public access TV, Davis does a heroic job of bringing the edgy and diffuse mixed-media New York art scene of the '80s back to life.

Tirador ’s frenetic style and locale will remind many viewers of Fernando Meirelles’ much-admired City of God.

Fans of "Train of Life" will undoubtedly embrace the picture's similarly ragtag collection of clever, lovable misfits.

The most compelling thing about it is what it captures: a snapshot of America's ongoing and endless cultural war at a moment when things begin to shift.

An uplifting, high energy documentary.

An odd little film that aims only to please itself.

It's funny, clever, touching and real.

Just when we thought there were no new twists to the story of the Warsaw Ghetto comes this documentary: focused, sorrowful and revelatory.

This comic fantasy will delight kids and parents alike.

How often can you see Cheech Marin nailed to a cross or Lindsay Lohan in a threesome with Trejo and the actress playing her mother?

Bottom line: It's a good one, fresh, funny and vintage Woody.

The best parts of Sparling's script play like an absurdist snuff film.

Like Todd Haynes' "I'm Not There"-which never once came out and said the name "Bob Dylan"-Nowhere Boy bites its tongue and refuses to say "The Beatles."

The script, from first time screenwriters Ian Deitchman and Kristin Rusk Robinson, takes a predictable premise and gives it surprising depth.

Although its claims about Hildegard's modernity and relevancy should be taken with a grain of salt, one readily imagines Vision attracting a cross-section of the curious, not limited to feminist cinephiles and true believers.

Wiseman's approach will surprise none of his veteran viewers: no voiceover, no real narrative, just a pure evocation of a place that acts both as a specific site and a microcosm of a larger sphere.

Bhutto's story is an epic one, and Hernandez and O'Hara prove up to the task.

In its small moments, say when Walhberg sighs that his robe misspells "Micky," The Fighter feels clued-in to the very small, very tough world of a man trying to make his way out of his block-and after getting to know his family, you want to help him pack his bags.

This oddball tale of life on a snowy mountainside is consistently upbeat and surprising, with action intensity that stays sturdily at "Goonies" level.

A clearly personal effort, Somewhere demonstrates Coppola's featherweight touch with big subjects like identity and human connection.

Equally nostalgic and fresh-faced, Guy and Madeline on a Park Bench is a bohemian musical that owes as much to Cassavetes "Shadows" as it does the French musicals of the '30s.

Unbeatable entertainment if you want to climb on board for the ride.

Wacky and good-humored, Go Go has a seductive visual appeal that Ferrara exploits to the fullest.

Country Strong is a charmer that makes you forgive all of its false notes simply because the talent plays them with conviction.

Blend of sardonic humor and bitter poetry.

Evokes a New York sentimentalist tradition that mixes the edge of golden era Cassavettes with the nostalgia of Woody Allen-all of which owes eternal debt to the western European New Waves and Bergman.

A superbly well-crafted film, faithful to its cultural and cinematic heritage, and easily one of the most enjoyable entertainments of a still nascent 2011 post-holiday season.

The film reaches way beyond the usual activist crowd by making itself as formally compelling as it is tightly argued.

There's plenty of atmosphere and awe, even if it's in the service of a story that starts rote and finds its sea legs only when half the divers have sunk their bones to Davy Jones.

Katz, however, is great with gentle moments (his most dear and haunting is the final scene), and he handles the balance of mystery and family drama quite adeptly.

Lovers of Hate would be a family tragedy if the immature antics of the three characters didn't send you ping-ponging from sympathetic chuckles to guffaws of disgust.

Jones delivers her line readings so robotically that even her truths sound like lies. She's got the look of a Hitchcock blonde, and the movements of a deer in the headlights. Even her kisses look fake.

With the stranger in a strange land motif, the movie plays a little bit like the 2007 Israeli dramedy "The Band's Visit" and Liev Shreiber's "Everything Is Illuminated" rolled into one.

The perfect family film in every way, moms, dads, kids and even those Martians are gonna love this funny, warm and wonderful tale.

Cary Joji Fukunaga's romantic thriller Jane Eyre is to 19th-century literature what "Black Swan" is to ballet: a thoroughly cinematic, occasionally exhilarating reimagining of a repertoire standard.

This impressive documentary on rarely seen art will have strong appeal for art aficionados.

A Hitchcockian thriller with a bit of "Unstoppable" and a little "Unknown," Source Code is a pulse-pounding flick.

Fun for every member of the family, despite marketing that suggests it may be intended for only the youngest of the bunch.

It's easy to get depressed by much of the behavior depicted in Phillip the Fossil, yet the talents behind the picture are a cause for optimism. The last thing they appear to be is hypocritical.

This handsome period piece should develop a strong afterlife on DVD and in schools.

If you're a fan of upper-crust New England intellectuals or one of them yourself, Ceremony is probably your perfect movie.

Directors Keith Scholey (who also wrote the narration) and Alastair Fothergill spent nearly three years capturing this remarkable footage, and have edited it judiciously with an eye to entertainment.

So satisfying and surprisingly fun.

David Lowery's St. Nick provides plenty to marvel at.

With his (Herzog) idiosyncratic blend of serendipity, bluntness and mischievous irony, he's able to get at deep questions like no other documentarian.

The film is terrific: smart, sexy and funny.

What the film does well, however, is grasp the tone and rhythm of the original comic books.

An auspicious, controlled and altogether droll debut film that resembles Wes Anderson's "Rushmore" without being derived from it.

Abolishing obvious innuendo and employing a deft handling of script and character, the film has all the fixings to play like a sleeper in arthouses.

The film has a narrative grip and pitiless portrait of idealism run amok that's hard to resist.

Trachinger clearly has the wit and the talent to do thought-provoking and challenging work. All she needs is a producer with similar aspirations, and she'll be well on her way toward fully achieving the promise on display here.

The equally simple and profound take-away from One Lucky Elephant is that the best thing we can do is let Flora be Flora.

What makes this movie truly special is that the source of Buck's uncanny gift is actually an acute childhood sorrow.

Whether Rossi's cautious optimism about the future of a legendary but troubled journalistic institution is justifiable is a story yet to be written, but Page One assures us that if the paper goes down, it will go down swinging.

A refreshing, hilarious and heartwarming movie for everyone.

More than just a jocular account of a musical comedy revue, Conan O'Brien Can't Stop is a snapshot of a unique man's psyche at a very peculiar moment.

A lawman seeking redemption can't seem to escape sin in Ed Gass-Donnelly's haunting, rural drama.

As uninhibited as its heroine, this film is full of clever surprises.

A tough psychological drama, it may stretch some audience sensibilities.

This charmer about late middle-aged renaissance is pertinent for these times and a perfect summer comedy for grown-ups looking to escape robots and superheroes.

Shooting in Calais give Welcome a realistic atmosphere with vivid details.

Casting is almost uniformly first rate with Cox, Purefoy and the always brilliant Giamatti providing noteworthy standouts.

It is a dark drama to be sure and it does carry with it a whiff of disease-of-the-week melodrama, yet there is also transcendence in the tale; as bleak as the film is, it is not without hope.

July has mounted a surrealist fable about the delicate balance between relationships and the inner monologue inside each lover, with its incessant demands and individual needs. Unevenness is an aesthetic here - not so much a flaw as a conscious choice.

Compared to this summer's grab bag of superheros vying for a franchise, the apes rise (pardon the pun) to the challenge of making us care.

This is Rudd's movie and he once more displays an unerring eye for comedy. He comes at it from an actor's perspective rather than a comedian's and it shows as his character as hilarious as he is credible.

Writer/director René Féret tells the absorbing and ultimately tragic story of this gifted young woman now forgotten by history.

A CG-steeped period-piece fantasy that weds whodunit drama and punch-and-kick mayhem.

The title's no joke: the film presents Ceausescu as he presented himself to the world and wanted to be remembered.

As divisive as his documentary "Kurt and Courtney," this made-for-British-TV doc by Nick Broomfield begins with the promise of neutrality - but it's a promise the film can't keep.

Shannon makes the man's dilemma plain and moving, and that gives Take Shelter a resonance that last long after the final fade out.

Although the marketing looks like "Transformers 4," Real Steel is the real deal, a Rocky with robots that ought to have audiences standing up and cheering.

The Big Year turns out to be one of the smartest and funniest films this year.

The more traditional haunted house feel and fresh focus should please diehards and pull in new fans.

OKA!, like the mysterious horn the characters hunt, is a real find.

The Rum Diary is so visually enchanting that many viewers may be too lost in a haze of charm to care that the film never develops Thompson's then-nascent wisdom any further than the young writer did in the novel itself.

Cody's snappy, spot-on writing and Reitman's clear-eyed direction should suit audiences looking for a black-as-night dramedy with bite.

The messy uplift audiences can expect from this butterfly awakening they'll get in spades.

Streamlined, beautifully shot and casually thrilling, Haywire's superior action fun should hopefully draw audiences eager for R-rated, no-frills fare.

It's full of really subtle dichotomies and internal conflicts, but what makes Julius' story seem authentic is how totally incongruous it feels.

It's a mood piece more than a conventional documentary and it should do comfortably above average business on the theatrical documentary circuit, particularly given its location on the list of Oscar nominated documentaries.

Norton's tale of an undetected community of tiny people is perfectly suited for a cartoon and this beautifully rendered, almost old-fashioned version is a gem.

A family drama that looks for answers in coincidence (is it really ever coincidence?), this endearing and breezy comic fable watches Jeff's coming of age and promises nothing after his moment of truth.

Is the result - a slapstick, bizarro melodrama where Ferrell plays the Mexican born and bred scion of a wealthy farmer - meant more for Spanish speakers or stoned and giggly Americans? It's a tough call.

It's a mixed blessing to see these dramas play out in Norwegian, surrounded by what we tend to imagine are more liberal perspectives on sex.

The result is the best slice of Pie yet: a savvy sequel that's flat-out hilarious raunchy fun.

A winning cast and solid writing from screenwriters Keith Merryman and David A. Newman (Friends With Benefits) should appeal to men and women alike.

You'll laugh and be offended, but if you watch it and don't want to be part of the solution, you'll know which side of the line you're on. Activism takes some unique forms.

What it provides (instead of the thematically clever dialogue of typically subtle French comedy) is biting wit, poignancy and, forsaking some structural nuisances, the summer's best bromance.

Blending a perfect brew of classic '80s songs, big laughs and rockin' performances, director Adam Shankman manages to make this film adaptation of the hit Broadway jukebox musical a red hot summer blast for people who grew up with glam metal - or just can't escape it on the radio.

Too bad the film's obscure star will be a hard sell to non-music geeks or anyone born after 1965, because this film's a blast.

The Invisible War is that rare, issues-driven documentary that is so powerful it's apt to change minds.

Reiner has crafted the perfect summer film in The Magic Of Belle Isle. No, not one with a lot of noise and battles and comic book heroes, but rather a wonderfully laid back family story set around a gorgeous lake, about the everyday problems of real people from 7 to 70.

Greenfield's fly on the wall view of obscene wealth punctured like a toy balloon is as current as a blog or a headline.

The audience for this movie will have to be an adventurous one, and even then a substantial portion will be outraged by what they see.

A fine film in a strong summer, but it lacks the spark that made its immediate predecessor a masterpiece.

Step Up Revolution has again found some of the most kinetic talents in the country.

Fox is smart to keep turning this stuff out before star Gordon grows too old for the role. He's terrific in a Leave it to Beaver way, perfectly capturing the angst of being in-betweener.

The Master is big screen marvel intended for 70mm projection (a rare treat), with some beautiful imagery, but often inaudible dialogue. Phoenix's lived-in mumble comes off about as clear as Fenster from The Usual Suspects and Amy Adam's precise diction can't even save her harshest talking points.

It seems odd to call a detailed portrait of toxic romance lovely, but Keep the Lights On truly is.

Alcoholic movie characters run the gamut from lovable millionaire (Arthur) to Skid Row bum (Henry Chinaski from Barfly) to all-out, suicidal depressive (Ben from Leaving Las Vegas). As written and performed, Winstead's Kate triangulates between all these approaches and finds a sincerity that plays to the intellect, not to the rafters.

With a razor-sharp script and Jennifer Garner winning laughs in a nice change-of-pace role, this cynically funny and pointedly pertinent not-so-subtle spin on the national battle between right and left wing politics scores lots of comic bullseyes.

This is a curio that demands to be seen.

Killing Them Softly tries hard - and succeeds - to be a film of the now with its political parallels right in front of us. Yet it's also an invisible companion to the dirty business at hand - and it is a business.

It's a real film, and a fun one, made with gonzo good humor and plenty of action from the opening brutal battle over which the sound of The Wu-Tang Clan's 1993 single "Shame on a N***a" roars.

Playing like a mash-up between "Enter the Void" and "The Raid," Day of Reckoning is an uncommonly assured slice of bargain bin cinema, as arresting to watch as it is impossible to comprehend.

For fans, this is exactly how the story of Jean Valjean's transformation from thief to saint should be delivered: smothered in bombast.

The Spierigs make exciting use of their clever vampire premise and the result is a potential horror/action franchise equal to "Underworld."

Its tone is pleasant and its humor, charming.

Bong's stylistic embellishment of the simple tale of a mother who will do anything to protect her son is breathtaking.

They’ve shed all of the Brit-centric political aspects and updated it to make a riveting, pulse-pounding suspense thriller that really does keep you on ‘edge.’

Benicio Del Toro looks even more like Lon Chaney Sr. than Chaney Jr. did, and he’s a far better actor than the previous Wolf Man.

Payne's book is more epic and shameless than Gustin Nash's tidy adaptation.

Entertaining, full of laughs and, as far as chick flicks go, is a sweet, romantic trip worth taking for audiences so inclined.

To say the movie is understated is an understatement, yet it’s justified.

An entertaining fright movie that’s crazy fun and full of genuine scares.

With the nation’s unemployment rate hovering around 10% and home foreclosure numbers stubbornly high, Michael Palmieri and Donal Mosher’s haunting documentary of multigenerational troubles is either a case of great timing or, possibly, the worst timing ever.

In short, if you like her, you’ll likely love her after the film, which I suspect is timed to usher in a return world tour.

Moving and more ambitious than a CW serial drama or the long-ago ABC After School Specials because its honesty outweighs its occasionally trite dialogue and sometimes false scenes.

The romantic drama earns solid marks for atmosphere, moving shots of post-Katrina New Orleans and acting.

In a brief supporting role Meg Ryan is also fine along with Brian F. O’Byrne and Will Patton. Shannon Kane is memorable as the prostitute Gere hooks up with.

Sometimes hilarious, occasionally outrageous and terribly uneven.

For those looking for the rare romantic youth drama without vampyric overtones or other gimmicks, Remember Me should satisfy and it works as a much-needed change of pace for the talented Pattinson who remains one of the most watchable of our young stars.

Gordon is bit too good looking to really be the Greg Heffley the books detail, but he's not obnoxious in the role and will appeal to the target 'tween set.

A dark and brooding story that only gets more disturbing over the course its 152 minute runtime.

Although Ben Stiller’s brand of nervy comic ticks can prove irritating on occasions, here he is kept in check so that the humor and the pathos shine through.

At 74 tough and tragic minutes, though, Kimjongilia is not destined for monetary glory. The waiting arms of public television are the more likely destination.

Far from a perfect movie, but there are moments when it comes about as close to catching the visceral kick of the pre-iPod rock experience as any film I've ever seen.

Forty-four years after his exciting debut feature "Fists in the Pocket," Italian filmmaker Marco Bellocchio continues his late-career renaissance with the passionate, beautifully crafted, period melodrama Vincere.

Fails to completely satisfy, thanks to problems with the script that neither director nor stars can overcome.

Dancing lacks probing interviews to highlight the tremendous cultural change, but Sy remains an engaging focus point and there are numerous performance sequences that ably demonstrate his growing accomplishments.

A charming oddity, a character-driven drama with just enough fringe genre elements to both enhance and distract, though ultimately hewing closer to the former to make the latter only a minor annoyance.

On one side Lbs. deals with a subject not often handled dramatically and this alone gives it an urgency and a credibility.

Full of high flying action, nifty monsters, valiant heroes, plotting villains and impressive CGI.

Yet another movie marketed with the line “From the author of The Notebook,” The Last Song is distinguished from other Nicholas Sparks adaptations because it’s the first screenplay the best-selling novelist has written himself.

The filmmakers do bang-up job expanding the frontline perspectives, aiming to subvert a ruling regime’s course and expose its cloudy human rights record.

The way the film handles relationships has a similarly light but lived in air to it as well.

Borte supports his jewel of a story idea with dead-on casting, stunning images and product placement that's intentionally heavy-handed.

The Losers not only looks like a low rent, buttoned-down version of The A-Team, but it also resembles a hybrid of other flicks like "Mission: Impossible" and "Inglourious Basterds."