There are several big laughs in Zombieland. But, ultimately, director Ruben Fleischer has to honor the horror half of the horror-comedy equation. And that slows the movie down every time.

Gervais and his co-writer/director create one premise, then seem to shift to something else - and then to something else again. But the conceptual problems are less troubling than the essential shortage of laughs.

Though it tells the story of the rise of basketball's already legendary LeBron James, it frames it as part of a larger story about friendship and teamwork.

Calling Whip It competent is meant as faint praise -- and is barely true. The script might as well have been constructed from the screenwriting equivalent of Legos.

Clive Owen has never played a character dealing with problems as normal as the ones confronting Joe Warr, the sportswriter at the center of this film, which is based on a true story.

Blind Date is strong stuff indeed -- a well-written and insightful drama built around two beautifully modulated performances by Stanley Tucci and the always-marvelous Patricia Clarkson.

Part Parisian travelogue, part Robert Altman film, Cedric Klapisch's Paris is engaging without really being memorable.

Campion's film Bright Star is about the love of beauty -- particularly the ability of poetry to move the soul -- and about longing.

Two problems: Cody's script is barely funny -- and what humor there is gets crushed by the heavy-handed direction of Karyn Kusama and the marginal acting skills of Megan Fox.

Charlize Theron, an actress who knows how to reveal herself without making a big deal of it, delivers an emotionally naked performance. It's a showcase role, but not a showy one.

The Other Man is a tease of a film, in which a husband discovers his wife's affair and makes a point of meeting his rival. However, it focuses on the hole instead of the doughnut.

This film is so overheated -- even outlandish -- at times that you can't help but laugh at its histrionics.

9 is a computer-animated wonder, an apocalyptic action-thriller that's a little like The Terminator meets WALL-E

The story filmmaker Berlinger tells is about the deadly despoiling of the Ecuadorian rain forest by Texaco -- now owned by Chevron -- and Chevron's refusal to accept responsibility for it.

As workplace comedies go, Mike Judge's Extract is deceptive: never quite as funny as you wish, yet not without certain comedic pleasures.

It's Anna Wintour's world - the rest of us are just accessories.

Thanks to Patton Oswalt's soulful, sometimes dim, sometimes scabrous Paul, Big Fan plunges us into the world of the superfan in a unique way.

Ang Lee's Taking Woodstock is as unlikely and enjoyable a memento of that long-gone moment in the age of Aquarius as we're likely to find in this 40th anniversary year of the epochal rock festival.

Bobcat Goldthwait's writing is brutal and funny, full of awkward pauses and the kind of outrageously off-color banter that can make you gasp at its ruthlessness.

I can't decide whether it helps or hurts to go into My One and Only with the knowledge that the teenage character of George Devereaux will eventually grow up to become George Hamilton.

Rodriguez isn't happy unless his characters are stumbling face first into mud, falling into water or being pooped on by a pterodactyl.

His odyssey takes him to Amsterdam, drugs, sex and the other joys of a rock'n'roll youth in the early 1970s. In the process, he discovers a whole philosophy of life, love and art.

Tarantino's film is a World War II thriller with scenes of gruesome violence. But anyone who comes in expecting -- or hoping -- that the action defines the film will be wrong.

As he showed earlier this year in the little-seen Personal Effects - and as he demonstrates again in the new Spread - Ashton Kutcher is an actor with range.

The TIme Traveler's Wife is the movie equivalent of an Oprah book -- full of feeling with just enough ideas to make you think about it (but not too hard).