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Cars 2 won't win any new converts, but will sell an awful lot of car toys.

Not much engine-power here.

Although the film suggests that we should enjoy the present for all it's worth, we have a great time enjoying this brief episode in a literate and beauty-filled past

The magic of Paris and the mystique of an era gone-by are the stars of Midnight in Paris - Woody Allen's best film for years

I'm not sure if anyone in this film actually acted alongside anyone else, or if the performances were all cut together in the editing suite.

The result is pretty much a free-form traffic jam in which everyone fights everyone else.

Despite its technical accomplishments, Cars feels less Formula One than Ford Fiesta.

Rips off Doc Hollywood, almost note for note.

Vince Vaughn and Owen Wilson are enormously funny.

The Frat Pack goes from strength to strength in a robust romp that's only marred by the director's apparent inability to say "Cut!"

A fashion spoof draped over the bones of a puerile conspiracy adventure, this vanity comedy fails at every level barring its incidental details.

It's patchy, but when it hits, Zoolander is as funny as any Frat Pack picture.

It's theoretically possible for laughs to be gouged out of this scenario, but you won't find them here: every move, every joke, every emotion is heaved lumberingly into place.

The Big Year is as glossy and inert as Martin's face, which these days seems to require more foundation than the Burj Khalifa.

Perhaps they figured as it was six years since the last one, we all might have forgotten the same old jokes from before.

Consistently chuckle-worthy, Little Fockers...somehow sidesteps the law of diminishing returns that usually applies to comedy threequels.

Not everything on display is sufficiently alive in this museum-set comedy adventure.

Dark night of the soul is more like it.

The joke is supposed to be that it's sad to see these guys so desperate for a lay, but in truth, it's even sadder to see the brothers this desperate for a laugh.

An orgy of crudity that could only appeal to adolescents too young to be admitted.

Some of the bits are funny, every now and then they're sweet, the performances are OK and really, with this much talent involved, it's hard not to be disappointed in that.

Good news: you've got great actors with wonderful chemistry and comic timing. Bad News: they're playing some of the most irritating, unlikable, infuriating characters ever committed to film

As with Anderson's Rushmore, there's a certain annoying preciousness to this film -- it's not so consistently wise or amusing as he thinks it is -- but it has its moments.

Wes Anderson has made his masterpiece. It's going to be hard for him to match it.

Much of its strength comes from the central clash between Jackie's indomitable energy and Wilson's knowingly anachronistic cool, while lots of visual and verbal gags keep things whistling.

This is almost Mel Brooks territory: The frontiersmen think the Chinese are Jews, while the white settlers think it's the Sioux who are. This is equal-opportunity nuttiness, and there's a method to it.

Better than Cats & Dogs, but praise hardly comes much lower.

Fans of the single-panel cartoon that has run in newspapers since the 1950s will find plenty to disappoint them in this live-action adaptation.

A little too laid-back for its own good.

It is heartening to reflect that the best of Bill Murray may be yet to come.

Scenes that should have been uproarious are weaker than many of the movie's smaller moments, whose everyday humor isn't specific to the plot or characters.

Alas, poor Focker. He can't help himself. And we can't help ourselves from falling about, equally helpless, at this superbly antic movie.