"The Groomsmen" -- If you've seen previous Edward Burns comic dramas about troubled romance and strained friendships, you've pretty much seen this one. As in the writer-director-actor's earlier films such as "The Brothers McMullen" and "She's the One," this wedding-and-reunion tale features boys in grown men's bodies whining about love, home life and everything else the world throws at them. Burns plays a man about to wed his pregnant fiancee (Brittany Murphy) and spending one last week whooping it up and settling old scores with the relations and buddies in his wedding party (Donal Logue, John Leguizamo, Matthew Lillard and Jay Mohr). Through it all, there are genuine nuggets of wisdom, insight, clever comedy and warmhearted pathos. But as in life, you have to suffer through a lot of bluster and blather in the movie to get to the good stuff. R for pervasive language and brief nudity. 98 min. Two stars out of four.

"The OH in Ohio" -- As if the idea weren't disturbing enough that a woman could spend much of her adult life without ever having experienced an orgasm, "The OH in Ohio" also asks us to accept Danny DeVito as a sex symbol -- and, ultimately, the provider of our frigid film heroine's long overdue release. Then there's the scene in which Liza Minnelli, swathed in a frothy pink muumuu, teaches masturbation classes in her living room. These are all funny ideas, and there are many more where they came from in the film debut from director Billy Kent, with a script from first-time screenwriter Adam Wierzbianski. But that's all they are: concepts in a farce executed by characters who feel more like pawns than fully realized people. Think of it as the film equivalent of faking it in the sack. It can be a good time, but by the end you're just going through the motions, and not completely satisfied. Parker Posey stars as a high-powered Cleveland advertising executive who's never had an orgasm; Paul Rudd plays her husband, a high-school biology teacher who's slowly crumbling under the weight of his inability to satisfy his wife in bed. Not rated. 91 min. Two stars out of four.

"Pirates of the Caribbean: Dead Man's Chest" -- Yo ho, yo ho ... yeah, that's about all you get. It is physically impossible to think of any pirate puns after sitting through this sequel and having all traces of energy and enthusiasm sucked out. Even more cartoonish than the original film from 2003 -- a difficult feat to achieve -- the latest installment in the "Pirates of the Caribbean" franchise often feels as if it should star the Road Runner and Wile E. Coyote. And those moments are the funniest, liveliest parts. The rest is just bloated -- and, like its predecessor, numbingly overlong. Johnny Depp, Orlando Bloom and Keira Knightley are back, as are director Gore Verbinski and writers Ted Elliott and Terry Rossio. The plot this time focuses on our heroes' misadventures as they search for Davy Jones' famous hidden chest. In theory, the special effects are the allure, but they feel redundant. And the thrilling unpredictability of watching Depp do his kinda-gay, kinda-drunk Keith Richards shtick as Captain Jack Sparrow is completely gone. Like everything else about this film, we've seen it before. PG-13 for intense sequences of adventure violence, including frightening images. 153 min. Two stars out of four.

"A Scanner Darkly" -- Despite a big-name cast -- Keanu Reeves, Winona Ryder, Robert Downey Jr. and Woody Harrelson -- this babbling, often incomprehensible sci-fi tale feels like something director Richard Linklater cobbled together with little regard to audience interest. Adapted from Philip K. Dick's grim novel of drug addiction, the movie was shot in live action then painted over with digital animation, like Linklater's earlier film "Waking Life." Reeves plays a narcotics cop in the near future who's losing himself to addiction and personality disintegration amid an undercover assignment to spy on his associates (Ryder, Downey, Harrelson and Rory Cochrane). Rather than act, the players act out, their characters rambling heavily through Linklater's dense screenplay. There's little real action. Instead, people blurt, others react. Considering the movie puts style ahead of substance, the imagery appropriately provides a nice distraction from the dullness of the dialogue. R for drug and sexual content, language and a brief violent image. 100 min. Two stars out of four.

"The Devil Wears Prada" -- Like the hottest new fashion trend, it's irresistible at first. Fun, flirty, spirited, sexy -- you can't take your eyes off it. You've gotta have it. And then just as suddenly as it bursts onto the scene and commands your attention, it dies. Certainly the film from former "Sex and the City" director David Frankel, based on the script from Aline Brosh McKenna, had to be superior to its source material. Anything would have been. Lauren Weisberger's best-selling novel of the same name, inspired by her own experiences working as an assistant for Vogue magazine editor Anna Wintour, was chock full of juicy little details about the fashion world, but it was so coarsely written it was agonizing to finish. The Wintour figure was too two-dimensional; arbitrarily demanding and cruel, she never showed a glimmer of humanity. Thankfully the film fleshes her out, and Meryl Streep brilliantly brings her to life. She steals the entire film away from young Anne Hathaway -- who has the benefit of youth and Patricia Fields as her costume designer and who is, theoretically, the star -- and reminds us that, when given the chance, she's a master of subtle, biting comedy. But then the film staggers toward its protracted ending, which is different from that of the book but is needlessly convoluted. PG-13 for some sexuality. 109 min. Two and a half stars out of four.

"Strangers With Candy" -- A prequel to the defunct Comedy Central TV series, it's as joyfully twisted as the title would suggest. Amy Sedaris stars as Jerri Blank, a fortysomething ex-con, ex-junkie, bisexual prostitute who's fresh out of prison. When she returns to her childhood home and finds her father (Dan Hedaya) in a coma, she goes back to high school to "become the good girl I never was and never had any desire to be," with hopes of reviving him. What's great about the humor is that it's gleefully weird and politically incorrect, but played with the self-righteous seriousness of an after-school special. Unlike most movies based on TV comedy, "Strangers With Candy" has a plot, but a little of this conceit goes a long way. Sedaris created the series with Stephen Colbert, who co-stars as the science teacher who uses the Bible as a textbook, and Paul Dinello, who plays the fun-loving art teacher and directs for the first time. Sarah Jessica Parker, Matthew Broderick, Philip Seymour Hoffman and Allison Janney are among the celebrities who make cameos. R for sexual content, language and some drug material. 85 min. Two and a half stars out of four.

"Superman Returns" -- Finally this summer, the hype is justified. "Superman Returns" is everything you'd want it to be. It's reverential of the source material, yet a unique film all its own. It's steeped in decadent art-deco mood and details, yet completely current. It's joyous with the possibility of discovery, yet deeply moving in its melancholy. It should satisfy purists and attract new converts. But most importantly for a summer blockbuster, it's just outright thrilling. With technology having vastly improved since the original "Superman" from 1978, director Bryan Singer has constructed a visual marvel. Having infused the first two "X-Men" movies with equal amount of dazzle and heart, Singer shows he's the ideal choice to take over the beloved franchise. And yet, there's something softer, sweeter, warmer about this "Superman" than its predecessors, both in its tone and its performances. Sort of a sequel to 1980's "Superman II," the new film takes a little while to get going, but begins with the Man of Steel (Brandon Routh) returning to Metropolis after a five-year absence. Lois Lane (Kate Bosworth) is now the mother of a young son with her fiance (James Marsden). And Lex Luthor (Kevin Spacey) is out of prison with plans to create his own continent. PG-13 for some intense action violence. 157 min. Three and a half stars out of four.

"Who Killed the Electric Car?" -- Director Chris Paine's documentary makes for a lively, informative whodunit about an energy-efficient vehicle that debuted with fanfare and went out with a whimper. Soaring fuel prices make the film irksomely relevant as it lays out suspects in the demise of General Motors' EV1 -- potentially complicit parties that include automakers, oil companies and governments. A sleek two-seater whose batteries could be charged overnight at home, the EV1 earned loyal drivers including Tom Hanks, Ted Danson and Mel Gibson, who provides some hilarious interview segments. GM eventually yanked the cars off the road, saying demand was insufficient. But Paine -- an EV1 driver himself -- builds an impressive case against business interests potentially fretting over lost profits that could result from the fuel-efficient, low-maintenance cars. PG for brief mild language. 92 min. Three stars out of four.

"Click" -- Adam Sandler's latest comedy overflows with the juvenile hijinks that made him the cinematic god of idiocy among 13-year-old boys of all ages. The movie also ventures into the adult territory Sandler has tentatively mined with "Punch-Drunk Love" and "Spanglish." As an overworked family man who's given a remote control that magically allows him to take command of his messy home and office life, Sandler spends much of the movie engaging in mean-spirited, Three Stooges-like mayhem. But as tiresomely sub-moronic as the first half of the movie often is, Sandler and director Frank Coraci manage to craft genuine pathos toward the end out of a character who comes to regret taking the easy way out as the remote leaves his life in ruins. Christopher Walken's a hoot as the salesman who provides the remote. Kate Beckinsale, David Hasselhoff, Henry Winkler and Julie Kavner co-star. PG-13 for language, crude and sex-related humor, and some drug references. 107 min. Two stars out of four.

"Leonard Cohen: I'm Your Man" -- This concert documentary gathers solid interviews, anecdotes, recitations and tribute performances that present a fairly engaging portrait of the wry, dark poet who became a distinct voice in pop music. Director Lian Lunson's film is unlikely to appeal much beyond Cohen's loyal fans or bring converts to the brooding whimsy and dense wordplay of his songs. But the movie does a far better job than a couple of 1990s tribute albums in matching Cohen's sobering lyricism with kindred spirits who can do justice to the tunes during a concert in his honor in Sydney, Australia. Fellow somber travelers such as Nick Cave, Kate and Anna McGarrigle, Rufus and Martha Wainwright and Beth Orton are among those covering songs that span most of Cohen's 40-year career. The reclusive Cohen offers warm and amusing recollections, though interviews with the performers -- including U2's Bono and The Edge -- are a mixed bag. PG-13 for some sex-related material. 103 min. Three stars out of four.

"The Road to Guantanamo" -- Part documentary, part dramatization, this chronicle of three British Muslims held without charges for two years at the U.S. military prison in Cuba will make some Americans ashamed to be Americans, or at least ashamed of things the three young men say were done in America's name. Yet it's one that Americans should see, a story that puts sympathetic faces on the bystanders caught in the unyielding war on terror. Directors Michael Winterbottom and Mat Whitecross skillfully mix interviews by the three -- Asif Iqbal, Ruhal Ahmed and Shafiq Rasul -- with narrative segments using actors to re-create the men's journey from Britain to Pakistan and Afghanistan, where they were captured and eventually shipped to Guantanamo Bay. Told from the victims' point of view, it's a one-sided affair, but given the news accounts of prisoner abuse and recent suicides at the Cuban prison, it's difficult to accuse the filmmakers of overstating the hardship, maltreatment and degradation the film depicts. R for language and disturbing violent content. 95 min. Three and a half stars out of four.