If you grew up in the early 90s, you probably remember an animated feature from 20th Century Fox called “FernGully: The Last Rainforest.” It was the environmentally-conscious movie every 90s kid saw, and yet, nobody really liked. The film’s intentions might have been good, but even the youngest children seemed to find its blatant green message overly preachy. The fact that “FernGully” was lacking in any interesting characters or magic didn’t help. “Epic,” which was also coincidentally distributed by Fox, is a bit like “FernGully” if it had smarter, more imaginative filmmakers backing it. While it’s not a massive improvement, “Epic” is at least fun, energized, and subtle with its environmental themes.

On paper, J.J. Abrams’ 2009 “Star Trek” is one of those movies that should have crashed and burned. A reboot of a beloved franchise with younger, lesser-known actors stepping into the shoes of an iconic cast of characters. The fact that Abrams went on record stating that he was never a huge “Star Trek” fan didn’t bode well either. Against all odds, though, Abrams not only produced a great “Star Trek” picture, but quite possibly the best “Star Trek” ever made. That’s right, even better than “Star Trek II: The Wrath of Khan.”

Even though “The Great Gatsby” has gotten the movie treatment several times in the past, no film adaptation has ever really stood out as the definitive version of F. Scott Fitzgerald’s celebrated novel. Director Baz Luhrmann’s film is certainly the most visually arresting interpretation of “The Great Gatsby” ever produced. Catherine Martin, who previous worked with Luhrmann on “Moulin Rouge,” “Romeo + Juliet,” and “Australia,” deserves multiple Oscar nominations for her hyper sets and eye-popping costumes. As wonderful as Luhrmann’s “Great Gatsby” is to look at, the enchanting visuals are also ironically the movie’s downfall. In the midst of the art direction, costumes, and music, the story and characters that made Fitzgerald’s book a classic become a mere afterthought.

Even though “The Great Gatsby” has gotten the movie treatment several times in the past, no film adaptation has ever really stood out as the definitive version of F. Scott Fitzgerald’s celebrated novel.

Along with Christopher Nolan’s “The Dark Knight Rises,” “Iron Man 3” is one of the rare superhero threequels that doesn’t disappoint. While Jon Favreau remains an executive producer and co-star, he passes on the directorial duties to Shane Black of “Kiss Kiss Bang Bang.” Black maintains all the action, humor, and character development that made Faverau’s first two films so enjoyable, while also incorporating his own unique signature. His film continues to raise the stakes and pushes its characters to their critical limits. In addition, “Iron Man 3” makes some hilarious commentary on the media’s role in terrorism with several inspired twist. The result is the darkest of the “Iron Man” trilogy and, ironically, the funniest.

Just about all the actors in “The Big Wedding” are severely typecast. Diane Keaton is a high-strung, divorced mother like in “Something’s Gotta Give,” Robert De Niro is the father of somebody getting married like in “Meet the Fockers,” Amanda Seyfried is a blushing bride like in “Mamma Mia,” Robin Williams is an eccentric minister like in “License to Wed,” Topher Grace is a deadpan, quick-witted nice guy like in “That ‘70s Show,” and Katherine Heigl is a needy single woman like in every movie she does. Even though the actors are in their comfort zones, not a single person feels natural in “The Big Wedding.” That’s probably because the film doesn’t understand its own characters or their motivations. Nobody behind the camera has any idea what they’re doing, resulting in one of the most awkward romantic comedies of recent memory.

If you watch the trailer for “Renoir” – a new period drama from French filmmaker Gilles Bourdos – a variety of adjectives are bound to come to mind: conventional, humdrum, lackluster. Sure, they’re trying to sell the story of one of the all-time great painters in a mere two minutes, but nothing about it grabs your attention – let alone, compels you to sit through the actual film. Luckily, this is not exactly the case for the movie itself, which is exquisite to look at but unfortunately devoid of any real insight into Pierre-Auguste Renoir. You come wishing to learn about the artist and his work, but instead leave dwelling on the film’s more engaging supporting characters.

Just about all the actors in “The Big Wedding” are severely typecast. Diane Keaton is a high-strung, divorced mother like in “Something’s Gotta Give,” Robert De Niro is the father of somebody getting married like in “Meet the Fockers,” Amanda Seyfried is a blushing bride like in “Mamma Mia,” Robin Williams is an eccentric minister like in “License to Wed,” Topher Grace is a deadpan, quick-witted nice guy like in “That ‘70s Show,” and Katherine Heigl is a needy single woman like in every movie she does. Even though the actors are in their comfort zones, not a single person feels natural in “The Big Wedding.” That’s probably because the film doesn’t understand its own characters or their motivations. Nobody behind the camera has any idea what they’re doing, resulting in one of the most awkward romantic comedies of recent memory.

"Oblivion” is another movie that seems better suited for a video game than a motion picture. Watching the characters engage in endless shoot outs and explore vast, abandoned terrains, all you want to do is get your hands on a controller. Since a movie is unequipped with game play, though, you’re forced to sit back and merely observe the story. Then again, most modern video games have more three-dimensional characters and smarter plots than “Oblivion.” This science fiction mystery from director Joseph Kosinski isn’t completely without some good ideas, elevating it above “Transformers” schlock. It’s just unfortunate those ideas never meld into anything that intriguing.

"42” is far from the first movie to explore racial tensions in sports. We’ve seen this subject depicted in other good films like “Remember the Titans” and “Glory Road.” There are plenty of recognizable figures on display here, such as the underdog nobody believed in, the one man willing to take a chance on that underdog, and the ignorant antagonists that wish to see that underdog fail. Familiarity aside, though, “42” executes just about everything wonderfully. This is a good-hearted picture, carried by sincere performances and passionate direction. Not only is it an inspiring story about overcoming prejudice, but an all around rousing baseball movie too.

Anyone who saw “Scream 4” likely remembers the scene where Hayden Panettiere lists off every horror remake to come out in the past decade, from “Halloween” to “Friday the 13th.” So many of these remakes failed due to a lack of passion on the filmmaker’s behalf. Making a good movie was only their second priority, right after cashing in on an exhausted franchise’s good name. The new “Evil Dead” movie is the rare exception. It’s obvious that director/screenwriter Fede Alvarez has great admiration for Sam Raimi’s beloved cult classic. Along with co-writers Diablo Cody and Rodo Sayagues, Alvarez produces the best contemporary “Evil Dead” movie possible.

Although it’s not much, “G.I. Joe: Retaliation” really deserves credit where credit’s due. Its 2009 predecessor was one of the dumbest action movies of the past 10 years. In this sequel, director Jon M. Chu of those “Step Up” movies makes an attempt to incorporate some humor, creative action sequences, and impressive visuals. That doesn’t mean “G.I. Joe: Retaliation” is a good movie, but at least it’s an improvement. The film could have gone down the route of the “Transformers” series, which only got worse with every entry.

Editor’s note: Follows is a one-on-one interview with Joshua Sasse, of the movie “The Big and I,” and Leah Gibson, from “The Twilight Saga: Eclipse.” Both are playing key roles in “Rogue,” DIRECTV’s first original series.

DreamWorks Animation has always strived to tell stories that can appeal to all ages. Its latest animated comedy, “The Croods,” will surely be enjoyed by anybody who is under 10. Unlike “Shrek” and “Kung-Fu Panda” though, it lacks the wit and innovation for older audiences. Compared to most Saturday morning cartoons, the film won’t passionately annoy parents who get dragged to the theater. But in an era where more and more adults are attending animated features without accompanying children, “The Croods” feels like a step backwards for DreamWorks.

Cavemen — they're just like us! — or so "The Croods" seems to be saying with its familiar mix of generational clashes, coming-of-age milestones and generally relatable laughs.

DreamWorks Animation has always strived to tell stories that can appeal to all ages. Their latest animated comedy, “The Croods,” will surely be enjoyed by anybody who is younger than 10. Unlike “Shrek” and “Kung-Fu Panda” though, it lacks the wit and innovation for older audiences. Compared to most Saturday morning cartoons, the film won’t passionately annoy parents that get dragged to the theater. But in an era where more and more adults are attending animated features without accompanying children, “The Croods” feels like a step backwards for DreamWorks.

Harmony Korine seems to want it both ways, all day, with "Spring Breakers," his super-stylized descent into a sunbaked hell where bikini-clad, gun-toting college babes serve as our guides.

In a week when North Korea posted a homemade video showing the U.S. Capitol building being destroyed by a missile, what more logical response could Hollywood offer than a macho thriller about a Secret Service agent who takes on North Korean terrorists who attack the White House? The first of two similarly themed action dramas set for this year ("White House Down" arrives in June), "Olympus Has Fallen" will put to the test the question of whether American audiences are ready, 12 years after 9-11, to watch, strictly as disposable popcorn entertainment, a film in which the United States and some of its most prominent landmarks are devastated by foreign terrorists.

What should be a hilarious, long-overdue pairing of two hugely likable, superstar comedians ends up being a major disappointment with "Admission."

Walter Salles' "On the Road" was made with noble intentions, finely-crafted filmmaking and handsome casting, but, alas, it does not burn, burn, burn.

LOS ANGELES — A grave 12-year-old African girl, abducted from her village by vicious armed rebels and forced to wage war as a child soldier, guides the viewer through the horrors of Canadian director Kim Nguyen's engrossing Oscar-nominated drama "War Witch." Managing to be neither sentimental nor sensationalistic, the film tells its story from the heart, and from the simple, straightforward viewpoint of young heroine Komona, warmly played by the talented Rachel Mwanza in her screen debut.

“The Incredible Burt Wonderstone” starts off with a recipe for grade-A comedy. The cast includes names such as Steve Carell, Steve Buscemi, Alan Arkin, James Gandolfini, and Jim Carrey. The director is Don Scardino of “30 Rock” while Jonathan M. Goldstein and John Francis of “Horrible Bosses” penned the screenplay. The premise regarding rivaling magicians offers endless comedic possibilities. So how is it that the final product is just mediocre?

‘The Incredible Burt Wonderstone” starts off with a recipe for grade-A comedy. The cast includes names such as Steve Carell, Steve Buscemi, Alan Arkin, James Gandolfini and Jim Carrey. The director is Don Scardino of “30 Rock,” while Jonathan M. Goldstein and John Francis of “Horrible Bosses” penned the screenplay. The premise regarding rivaling magicians offers endless comedic possibilities. So how is it that the final product is just mediocre? It’s probably because the audience has to be constantly caught off guard in order for a magic show or comedy to succeed. In “The Incredible Burt Wonderstone,” the audience can pretty much predict everything that’s going to happen. This subtracts the elements of surprise and humor from the equation.

The only incredible thing about "The Incredible Burt Wonderstone" is that way it makes Steve Carell so thoroughly and irreparably unlikable. In a film about magic tricks, this is the most difficult feat of all.

A spider crawls up the leg of 18-year-old India Stoker (Mia Wasikowska) early in Park Chan-wook's English-language debut, "Stoker," and she regards it passively, intrigued.