Tower Heist is a typical Brett Ratner comedy, a little better than the last Rush Hour film, about on a par with After the Sunset
In Time may not be entirely convincing as science fiction, but it’s at least half-intelligent; it gets you thinking
Larry Crowne, Tom Hanks’ first film as director since 1996, is lightweight and easygoing, friendly and familiar on a sitcom-y level
John Madden’s The Debt is a taut and suspenseful thriller surrounding an exciting subject
Friends with Benefits is a surprisingly smart and funny romantic comedy for people who may not like romantic comedies
Olivier Megaton’s Colombiana feels like a cross-breed between Luc Besson’s La Femme Nikita and Leon: The Professional
Don’t Be Afraid of the Dark is a creepy and atmospheric Old Dark House thriller, a remake of the cult 1973 TV movie
There is, surprisingly, a lot to like in Green Lantern, a CGI-infused adaptation of the DC comic
Cars 2, a sequel to one of Pixar’s less memorable features, is the studio’s first outright dud
The Mechanic is slick, polished entertainment; Simon West is a proficient technician, and the action scenes are competently handled
After nearly two hours of Transformers: Dark of the Moon, director Michael Bay finally delivers the utter annihilation of downtown Chicago
There are a lot of endearing qualities in Paul, a spoofy alien comedy that parodies ComiCon culture and pop sci-fi
Pirates of the Caribbean: On Stranger Tides is more or less the same film as the previous three Pirates outings
Mr. Nice celebrates Howard Marks, the Welsh cannabis smuggler who was said to have controlled 10% of the world’s hashish trade
Loe and Other Drugs is cookie-cutter rom-com junk food complete with wildly inappropriate happy ending
Wes Craven’s My Soul to Take is an entirely watchable – but by no means remarkable – teen slasher film mixed with Scooby Doo mystery
Drive Angry knows exactly what it is and delivers all the violence, sex, action, and attitude that we could expect
The Adjustment Bureau is clean and competently made, centered around an intriguing Philip K. Dick premise
The Tourist is a refined but lighthearted, Hitchcock-influenced thriller, which explicitly recalls North by Northwest and To Catch a Thief
The Switch has been sold to unsuspecting audiences as a romantic comedy, but it’s neither romantic nor funny
Harry Potter by way of Ingmar Bergman: Deathly Hallows: Part 1 is rich and vibrant, dark yet sensitive
Devil, produced and written by M. Night Shyamalan, is Agatha Christie’s And Then There Were None on an elevator
Red is a perfect little timewaster, slick and polished and packed with enough outlandish action to overcome the frequent exposition lulls
Scott Pilgrim vs. the World boasts an exhilarating visual style and inventive cinematic language: this is fresh, this is new