Harry Potter and the Deathly Hallows - Part 2. All Critics (283) | Top Critics (47) | Fresh (273) | Rotten (10) | DVD (10) Fiennes and Rickman get the actorly moments they've been building toward for so long, and the film is most fun when it sticks to mechanics: roller coaster rides, battle scenes, close calls. In the 10 years since Harry's first big- screen close-up, the spell has never been broken. Captain America: The First Avenger. All Critics (222) | Top Critics (44) | Fresh (175) | Rotten (47) | DVD (17) It doesn't try too hard for irony or style; the comic-book sensibility remains pure, square, and happily stupid.
Pacy and punchy, but not quite a knockout. Comic book fans are likely to appreciate Captain America, which does a good job of consolidating the disparate origin aspects of the character into something easily digestible. Horrible Bosses. All Critics (206) | Top Critics (44) | Fresh (142) | Rotten (64) | DVD (7) Gordon knows what works and what doesn't, pushing the leads' chummy chemistry to the fore while allowing the schematic and, frankly, highly unlikely murder plot to sink into the background.
The movie's main thrust is lowball wish fulfillment, which comes too cheaply. A lot of low-stakes humor, occasionally brought off by a mostly ingratiating cast. For something like Horrible Bosses to sparkle, the actors have to shine... and shine they do. Movie Trailers. Inception. All Critics (290) | Top Critics (44) | Fresh (248) | Rotten (39) | DVD (6) An astonishment, an engineering feat, and, finally, a folly.
It's only the latest indication that Christopher Nolan might be the slyest narrative tactician making movies today. The Adjustment Bureau. All Critics (247) | Top Critics (45) | Fresh (179) | Rotten (68) | DVD (7) Accomplished filmmaking that features two highly attractive, talented leads, a healthy dose of sentiment, an intelligent script, and which takes you away for two hours from the quotidian worries and banalities of your regular life.
This mind-meld of sci-fi thriller, morality play and passionate romance is worth seeing, mostly for the palpable chemistry between the lead actors. Damon and Blunt give such terrific performances you might almost forgive the movie's dopey ending. The on-screen pairing of Matt Damon and Emily Blunt is so winning that you may be willing to overlook the oddly modulating tone of the story that brings them together and then tries to keep them apart. Fans looking for something a little different will find it here - as well as the first real romance of the year. Brave Trailer. New Trailers Top Box Office Top DVD Rentals Most Popular Trailers More Brave Clips.
Cars 2. All Critics (204) | Top Critics (42) | Fresh (79) | Rotten (124) | DVD (9) Don't tell the kids, but Santa Claus isn't real and Pixar is fallible.
Time, perhaps, for the franchise to be towed off to the scrapyard. Transformers: Dark of the Moon. All Critics (246) | Top Critics (46) | Fresh (87) | Rotten (157) | DVD (8) The third outing for a herd of toys that should have stayed in their boxes.
Despite its manifest improvements, there is something so sour and unpleasant about the new film that it left me almost nostalgic for the innocent idiocies of its predecessor. At 157 minutes, "Transformers: Dark of the Moon" isn't just a movie. I Am Number Four. All Critics (159) | Top Critics (31) | Fresh (52) | Rotten (106) | DVD (13) The young "Four" cast appears to have been plucked from an Abercrombie & Fitch catalogue - which isn't an issue until you realize that the characters they're playing are about as thin as the pages in that Gen-Y fashion Bible.
The door is left wide open for a sequel, but it's hard to imagine there'll be much call for it. The sci-fi-teen romance I Am Number Four is witless, insultingly derivative, muddy-looking, and edited in the hammering epileptic style that marks so many films produced, as this one is, by Michael Bay.
Super 8. All Critics (270) | Top Critics (46) | Fresh (221) | Rotten (48) | DVD (13) Super 8 is accomplished commercial filmmaking.
A diverting but rather pointless affair, undermined by its obsessive and clinical commitment to recreating past glories. Spielberg and Abrams are the unwitting targets of their own irony. A love letter to a cinematic era, before 'blockbuster' became a synonym for 'franchise' or 'tent pole.' Remember the good old days? X-Men: First Class (2011.