Meet the Parents: Little Fockers **

BACK in the day, Meet the Parents was about as funny as a mainstream comedy could get, but the same can't be said for this third film in the series.

The Tourist *1/2

ANGELINA Jolie and Johnny Depp fail to fire as names of their calibre should, with success on any level completely eluding The Tourist.

The King's Speech ****1/2

THIS historical drama and sincerely inspiring movie experience tells the little-known story of how a reluctant British monarch overcame a stammer.

Sarah's Key ***1/2

WITH welcome measures of intellect, tact and warmth, this film captures so much about what the Holocaust has come to mean today.

TRON: Legacy **1/2

THE TRON sequel stays true to the original: stunning visuals, forget the plot.

• Trailer: Tron Legacy

Love and Other Drugs ***

THERE can be no denying Love and Other Drugs is one of the better rom-coms to come along in 2010.

Rare Exports: A Christmas Tale **1/2

IN THE ancient folklore of Finland, Santa Claus is not the cheery, chubby, red-jumpsuited CEO of a pan-global gift-delivery company.

Devil ***

A QUESTION without notice: would you accept a lift from M. Night Shyamalan?

Lebanon ****

SET entirely inside an army tank on the first day of the Israel-Lebanon war in 1982, Lebanon is best likened to a Das Boot on wheels.

The Chronicles of Narnia **1/2

SORRY, Chronicles of Narnia, but someone's got to say it. Harry Potter on a bad day trumps you on a good day. Every time.

Fair Game ** 1/2

A SOLID if unspectacular political thriller, Fair Game gets agitated about its subject but has trouble inspiring the same outrage in its audience.

Red Hill *** 1/2

THIS has been a great year for witnessing fresh and intrinsically Australian takes on time-worn film genres.

Due Date **

THERE's no point in addressing the soooooo so-so road-movie Due Date without mentioning its blatant similarities to Planes, Trains & Automobiles.

Monsters ****

FIRST-time filmmaker Gareth Edwards is after something subtle, sophisticated and soulful with Monsters.

The Last Exorcism ***

This movie is blessed with enough unsettling mysteries, rising tensions and shock twists to ward off most demons of cinematic cynicism.

GasLand ***

THE defining image of GasLand is an only-in-the-movies moment that appears to be the work of an over-imaginative screenwriter.

Skyline *

STAND back, everyone! It's Independence Day in Cloverfield! So runs the basic - and I really mean, basic - pitch for Skyline.

Agora ** 1/2

PAGANS of all persuasions have a clear choice: get with the Jesus program, or get what's coming to you.

The Messenger ***1/2

FIRST-time filmmaker Oren Moverman does a creditable job driving right past any easy narrative short cuts in The Messenger.

Wild Target **

BANG. Bang. Sigh. Here comes the second film this week to feature a disenchanted hitman in the throes of a mid-life crisis.

Machete ** 1/2

Generous, meathead-sized portions of blood, guts, severed limbs, idiotic gun battles and naked women shall be served until you cannot take any more.

The American ****

SMILE goes on. Smile goes off. By simply adjusting the luminosity of his grin, George Clooney can dictate the mood of an entire film.

Winter's Bone ****1/2

YOU won't forget Ree Dolly in a hurry, if ever. The heroine of Winter's Bone is poor as dirt, tough as nails and not about to take no for an answer.

The Loved Ones ***

WHEN all is bled and done, The Loved Ones stands beaten, but unbowed as the most appallingly appealing horror film of 2010.

Gainsbourg **1/2

BASED on a novel which embellished the late cult hero's life into an odd tale, the French-produced Gainsbourg was never going to be conventional.