Gorgeous computer-animated feature (shown in crisp, colorful, non-scary 3-D at some theaters) celebrates imagination, individuality, creating a family when you don't have one, in tale of 12-year-old orphan inventor Lewis; his determination to find his real mom leads him to invent a "memory scanner" and brings Wilbur Robinson, a boy from the future, to his science fair; Wilbur brings Lewis to the future to meet the hilariously eccentric Robinson clan and see a world inspired by art deco and, at darker moments, the dehumanized future of Fritz Lang's 1927 classic, "Metropolis." Baby abandoned on orphanage step; sad older kids see adoption chances fade; issues of loneliness, failure, childhood sadness following us into adulthood handled humorously, but with underlying seriousness; "Bowler Hat Guy" villain wears a robotic bowler that spouts metal legs, chases folks; Lewis and Wilbur crash Wilbur's time machine; rude phrases "puke-face" and "booger-breath"; dinosaur topiary comes to life, chases folks.

Heavy-handed comedy nearly defeats a strong cast with its corny script, oversold jokes and obvious special effects that spoil the wonderment; a movie star Irish terrier, Rexxx, falls from a plane during a film stunt, lands safely in a tomato truck (minus his wavy hairpiece) and endears himself to a firehouse crew in the nearby city with his agility and courage, becoming their mascot and winning over the fire captain's (Bruce Greenwood) sullen 12-year-old son (Josh Hutcherson); but - an arsonist is on the loose and Rexxx's trainer (Dash Mihok) misses him. Too many doggie digestive jokes: Rexxx has noisy flatulence, poops into a pot of stew; intense firefighting scenes; boy, dog and a firefighter are trapped at various times, all rescued; subplots about grief, loss, anger over mother's abandonment of them, a firefighter uncle who died in a blaze.

Less crass, more amusing sequel to Ice Cube's 2005 comedy "Are We There Yet?" (PG, but deserved a PG-13); still acting within a narrow range, Cube plays sportswriter/entrepreneur Nick, now married to Suzanne (Nia Long), the divorcee he pursued in the first film; with her and his new stepkids (Aleisha Allen and Philip Daniel Bolden) he moves into a house that needs major repairs; John C. McGinley is Nick's amusing, over-the-top foil as the ever-present real estate guy/contractor. Mild sexual innuendo; chaste romance between 13-year-old girl and slightly older boy; comic scenes with deer and raccoons acting crazy; bats swarm; owl swoops to grab a chipmunk; pigeon falls dead after being shot (off-camera) with a nail gun; huge fish pulls a child under water (a quick rescue); toilet humor.

Clichéd but very well-acted, enjoyable, "Hallmark Hall of Fame"-ish parable (subtle Christian themes - no theology, little preaching) about a spoiled 20-something trust-fund kid (Drew Fuller) who must listen to video life lessons from his late granddad (James Garner), then go off and learn to be a better man or lose his bequest; a single mom (Ali Hillis) and her sick daughter (Abigail Breslin) change his life. Brief smoking, drinking; rare mild profanity; references to drug abuse; comic scene with an electric cattle prod; implication of adultery among married characters; themes about loss of a parent, a child; subplot shows protagonist trapped among South American drug thugs with guns, who hit him, hold him hostage.

Riotous, rude farce about figure-skating rivals Chazz (Will Ferrell) and Jimmy (Jon Heder), banned forever from competition for public scuffling; three years later, a stalker/fan (Nick Swardson) and a veteran coach (Craig T. Nelson) note a loophole that would allow them to compete as the first male/male duo. Constant R-ish verbal and visual sex jokes go beyond innuendo: crotch gags; references to Chazz's "sex addiction"; much homophobic humor; a towel worn dangerously low; drinking; talk of drug use; spoof of adoption; subtle incest joke; death threat; video of ice stunt ending in bloody accidental decapitation; profanity; toilet humor.

Lurid, overproduced, ill-conceived thriller veers crazily from film noir to melodrama and back in story of abrasive investigative reporter (Halle Berry), who, with the help of her computer-hacker colleague (Giovanni Ribisi) goes undercover in a big ad agency to prove its hotshot CEO (Bruce Willis) had a childhood friend of hers (Nicki Aycox) murdered after the young woman threatened to tell his wife of their affair. Film hints repeatedly in flashbacks that Rowena was molested as a child; naked body of a murdered woman at morgue; on-camera violence shows a wife killing her husband, a stabbing, and a beating; photos of semi-nude women; strong references to online sex, masturbation, voyeurism; semi-explicit sexual situations, others more understated; strong profanity; crude sexual language; subtler verbal and visual sexual innuendo; drinking.

Silly film borrows much from occult/religious thrillers such as "The Exorcist," "Rosemary's Baby," and "The Omen"; despite nice atmospherics, it never conjures any chills of its own; Hilary Swank as an ex-minister who lost her faith after a tragedy; now a professor who debunks "miracles"; she and her assistant (Idris Elba) go to a Louisiana town, asked by a local teacher (David Morrissey) to find scientific reasons their river has turned blood-red, cattle are dying, frogs are falling from the sky so townsfolk won't kill a 12-year-old girl (AnnaSophia Robb) they suspect of Satanism. Gun suicide; dreamlike, semi-explicit sexual situation; subtext about menstruation, puberty; piles of dead cattle; swarming locusts, maggots; children endangered; fire and brimstone; profanity; drinking.

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