Retro horror flick pays homage to genre movies from the early '80s. Only this film, about a woman who takes a gig watching over an old woman living in a spooky house, is better than its inspiration. "Devil" begins at a glacial pace, but stick with it for some finely crafted shocks.

Two time Oscar winner Hilary Swank is the right choice to play the famed aviatrix. But this Amelia Earhart biopic skims the surface of a remarkable life, robbing us of the chance to get to know a game-changing personality. Richard Gere tries, in vain, to add juice to the tale playing Earhart's love interest. The sharply realized flying sequences represent the movie's best moments.

The late King of Pop is remembered through the rehearsals for what would have been his comeback tour. The material offers proof that Jackson could still bring it and cared deeply about every note he sang. The documentary steers clear of his outlandish behavior and odd appearance, offering a warm tribute to a gifted artist. Still, Jackson's quirkiness peeks through during the various dance numbers.

Clive Owen reveals a more vulnerable side in this effective tear jerker, one inspired by a true story. Owen plays a newly widowed father trying to bond with his two children. The child actors more than carry their share of the film's emotional weight, and the film remains grounded without drifting into weepy monologues.

Michael Keaton steps behind the camera for the first time, and while the film didn't make a splash commercially it's still a sophisticated first effort. Keaton plays a hit man who forges a friendship with a woman (Kelly Macdonald) fleeing an abusive spouse. The film packs no big thrills or emotional pay offs, but it's a thoughtful piece all the same featuring sound performances from both Keaton and Macdonald.

The lovely Kate Beckinsale stars in this thriller set in one of the coldest climates on earth. She plays a detective trying to solve a murder at a remote outpost in Antarctica. "Whiteout" is generic through and through, but the unconventional setting gives the film an edge over its peers.

Director Rob Zombie's second "Halloween" is a marked improvement over his first try at reviving the franchise, but it's still only an average shocker. Michael Myers is back to slice and dice his way through his hometown in an odd attempt at family closure. The nifty sound effects and intense music provide a few jolts, but it's time to put this masked killer out to pasture.

The best anti-war comedy in quite some time and proof a film doesn't have to attack a specific war to make its point. This British comedy follows the fallout from a poorly advised soundbite on both British and American war fronts. It's almost too smart for its own good, but that's hardly a crime these days. Supporting player Peter Capaldi steals scene after scene as an incensed British media director.

Ricky Gervais stars in this middling comedy about a world in which no one lies. Gervais' character, a portly single man, learns how to lie one day and everything in his life changes. The film's early sequences are the strongest, but the second half satirizes religion with mixed results. Jennifer Garner charms as the woman worth lying over.

The fourth film in the horror franchise shreds such niceties as character and plot development to deliver some drab would-be scares. Once more a gaggle of pretty people avoid the Grim Reaper - but temporarily. The computer generated kills are mildly interesting, but everything else here is utterly forgettable. Let's hope this marks the final "Destination."

This bland drama follows a young woman (Alexis Bledel) who can't find the job of her dreams right after graduation. So she moves back home with her wacky parents and tries to regroup. Tweens will find Bledel's character appealing, but everyone else will wonder how she could be so blindingly naive about life post college. The film wastes a strong supporting troupe including Michael Keaton and Carol Burnett.

A couple thinks their home is haunted so they set up a video camera to watch them as they sleep each night. That simple premise sets up a chilling new horror film, one that scares us without copious gore or big-budget effects. The film's unknown stars make for a believable twosome which only heightens the tension as things start going bump in the night.

"Juno" screenwriter Diablo Cody teams up with actress Megan Fox for a snarky horror film that just misses the mark. Fox plays a local hottie who transforms into a man-eating beast after a wild night of partying. The script delivers a few smart jokes, and Amanda Seyfried shines as Fox's gal pal. But the film isn't scary or funny enough to be worth your time.

The comedy smash of the summer works just as well on the small screen. Four buds hit Vegas for a bachelor party they'll never remember, but they sure wish they could. Crackerjack casting, from the befuddled Ed Helms to the bizarre Zach Galifianakis, give the comedy consistent laughs. A cameo by Mike Tyson, playing himself, is simply icing on a very tasty cake.

Quentin Tarantino's latest mashup of his cinematic roots is one part masterpiece, two parts overkill. Christoph Waltz steals the film, and likely an Oscar early next year, as the film's Nazi villain. But Tarantino's film is too long, too enamored with its own storytelling, to become the great movie it might have been. Brad Pitt is a hoot early on as a Southern-friend Nazi killer, but his performance becomes a mockery of itself as the movie wears on.

Bobcat Goldthwait - yes, the squirrely guy from the "Police Academy" movies - directs a pitch perfect black comedy about a hapless high school teacher's flirtation with fame. A poetry instructor named Lance (Robin Williams) is stuck with the teenage son from hell (Daryl Sabara). But when the young man engages in some risky behavior, Lance's life takes a sudden, dramatic turn. What starts out as a lesson in awkward filmmaking blossoms into a sharp, sophisticated comedy.

Johnny Depp is a natural to fill John Dillinger's gangster boots, but director Michael Mann's latest film is merely good, not great. Depp plays the charismatic bank robber while Christian Bale is the lawman hot on his trail. Some bravura action sequences bring the movie to life, but the screenplay doesn't dig deep enough into the main characters' lives.

Tolerable for the adults and catnip for the kiddies, this summer sequel will make a nice stocking stuffer this year. Ben Stiller returns to the scene of the crime - a museum with talking exhibits - in a new battle against an old enemy (Hank Azaria). The effects are first rate, and so is the adorable Amy Adams as Amelia Earhart.

The "Terminator" franchise's fourth outing delivers brilliant action and some very robotic humans trying to save humanity. Christian Bale is allegedly the star here playing John Connor, but co-star Sam Worthington proves far more engaging as a conflicted hero. Audiences will still miss the Governator's presence, even if he does make a cameo courtesy of some digital trickery.

It's faint praise, indeed, that the sequel to "The Da Vinci Code" surpasses the original. The latest adventures of symbologist Robert Langdon (Tom Hanks) provide solid, unspectacular entertainment, and director Ron Howard pulls just enough strings to keep us engaged. Langdon's task this time is to uncover a secret society in Rome involved with a series of shocking murders.