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GNOMEO & JULIET In this toon take on, what else, William Shakespeare's immortal Romeo & Juliet, the majority of the characters are garden gnomes who come to life whenever the humans aren't around. As in the original text, the families of the boy (voiced by James McAvoy) and girl (Emily Blunt) are constantly feuding, making their love a forbidden one. But unlike the current Rango, the film is strictly for small children, with only a few shout-outs to Shakespeare and a happy ending grafted onto the proceedings. The music score relies on slightly altered versions of Elton John standards, and while it's always nice to hear his classics in any form, they're usually integrated into the story in only the most perfunctory manner. Honestly, for all the difference it would make, they could have just booted the EJ tunes and instead employed, say, Gerry Rafferty's "Baker Street" or Cee Lo's "Fuck You." **
HANNA With a young girl as its steely-eyed, bloodletting protagonist, Hanna can't help but be compared to Kick-Ass, what with its steely-eyed, bloodletting Hit Girl. Bring it on: This is one film that can take down its competition. While Kick-Ass was criticized in many circles for glorifying the mayhem exacted by its pint-sized heroine, director Joe Wright is careful not to allow the same charges to be hurled against his new picture. As ably portrayed by Atonement's Saoirse Ronan, Hanna likewise is out to avenge a dead mother, but Wright and his three writers treat her cat-and-mouse game against the person responsible — a hissable CIA operative played by Cate Blanchett — with a hardcore efficiency that eschews any sops toward gorehounds. But that's not to say the film is cuddly within the confines of its PG-13 rating. With even Hanna's dad (Eric Bana), the ex-agent who teaches her how to survive at all costs, opting for tough love instead of tender moments, this is a brutal and uncompromising motion picture — at least until it cowardly tries to sidestep the obvious fate of some of its most likable characters, hoping that audience members won't remember to question it afterward. The choppy denouement could stand to be longer — the film wraps up even as we're still trying to process new information and fill in the blanks (some of which remain glaringly empty) — but with its crisp action sequences and unfussy acting, Hanna is a chase flick that on balance is worth catching. **1/2
INSIDIOUS While it's probably time to call for a moratorium on both haunted-house thrillers and creepy-child sagas, Insidious milks a bit of innovativeness from both these sub-genres before self-destructing. Patrick Wilson and Rose Byrne make a believable couple as Josh and Renai Lambert, who move into an old mansion with their three kids in tow. An accident in the attic leaves son Dalton (Ty Simpkins) in a comatose state, and soon afterward, all sorts of supernatural shenanigans begin occuring. No problem; the Lamberts simply pack up and move out. But when strange things start happening at their new abode, they suspect that it wasn't the former house itself that was haunted... Director James Wan and scripter Leigh Whannell don't allow a PG-13 rating to temper their work: Rather than relying on gore, they manage to conjure some genuine tension by keeping both the characters and the audience off-kilter for much of the running time. But the film slips drastically with the introduction of two paranormal investigators whose painfully unfunny comic relief (we're not talking Bill Murray and Dan Aykroyd) disrupts the unsettling mood. Late arrival Lin Shaye (a grotesque foil in Farrelly movies) is excellent as the two clods' all-knowing boss, but her elaborate — and exceedingly daft — explanations regarding the otherworldly occurrences further deflate the project, and the frantic finale is simply overkill. And the less said about the awful last-minute twist, the better. **1/2