Andrea Gronvall

In this heady documentary, TV footage of left-wing social critic Paul Goodman being interviewed by conservative host William F. Buckley Jr. in 1966 makes one realize how low public discourse in America has sunk since then: despite the men's political differences, their freewheeling discussion, touching on topics from education to pornography, is playful instead of rancorous.

Clever and unsettling.

It's an edifying art history lesson, but it lacks the showmanship of, for example, Peter Greenaway's "Nightwatching."

This lacks the heft of "The Insider" (1999) or the snap of "Erin Brockovich" (2000), but it's a thoughtful entry in the growing subgenre of whistle-blower dramas.

Director David Barker creates tension by crosscutting between shots of the sun-drenched landscape and charged close-ups of the cloistered characters before delivering a bloody climax.

This high-powered sports melodrama benefits from its strong male leads, a sinewy narrative, and the maverick attitude of MMA. But for all the contemporary references, it's essentially a spin on the story of Cain and Abel, which may be the reason it feels timeless.

The movie, to its credit, recognizes that the quest for spirituality sometimes leads to another pew.

Directed by Djo Tunda Wa Munga, who studied filmmaking in Belgium, this is raw, sardonic, and formally complex.

A film that throbs with life while keenly noting its passing, this is an ode to the village that welcomed - and let thrive - the director's refugee parents.

Finely calibrated French neonoir.

When the interrupters do succeed, the results can be riveting.

The jokes don't all work and the topical references can be irritably hipper-than-thou, but at least director and cowriter Will Gluck (Easy A) aims high: this is patterned on the Tracy and Hepburn comedies, albeit with a lot more skin.

Cinematographer Eduardo Serra underscores the sense of dread with a rich charcoal palette, and the outstanding CGI and 3D effects make the otherworldly threats more corporeal.

Sexual politics, family dynamics, the debate over heredity versus environment, and the dubious ethics of scientific research on animals are rigorously explored in this ambitious, bittersweet work.

Perceptive, faith-based romantic comedy.

Reeves often displays moderate to little affect onscreen; here his reserve suits the story, as the experience of acting helps the reticent loser find himself. Vera Farmiga crackles as the feisty star of the play, while James Caan, as the hero's accomplice, proves a most charming rogue.

By the end theyve acquired a measure of self-knowledge at a cost dearer than they expected, which reminds us that what we think we know can be just the beginning of an existential journey.

This features the usual slapstick, double entendres, and riffs on classic films, but what elevates it above a cheeky romp is the skilled CGI work, not only the wealth of tactile detail lavished on the parched townsfolk but also the painterly, sand-swept vistas they call home.

After a sluggish half hour, this well-crafted adventure kicks into high gear and never lets up.

Thanks to her fearless, charismatic star, Ondi Timoner has directed one of the more hopeful movies of the year.

The tale of Rapunzel gets a cheeky make-over in this gorgeous Disney animation, which combines the studio's traditional hand-drawn look with the sculptural qualities of digital 3D.

The beguiling creature design--from minotaur to dragon, sea serpent to one-footed dwarf--and 3D effects heighten the illusion of a storybook coming alive, while the rousing sea adventure drives home Lewis's Christian ethos better than either of the previous entries.

The best portion is an animated story-within-the-story, supervised by Ben Hibon, that recalls Lotte Reiniger's filigreed shadow puppets as it sets the stage for armageddon.

Perry benefits from the fire, heft, velocity, and lyricism of the language, but he also updates the material and makes it work onscreen, eliciting powerhouse performances from an ensemble of actresses.

In place of romance there are numerous talky espionage scenes that make the movie feel like one of those labyrinthine cold war pictures from the 60s.

Shani and Copti (who costars as a hipster druggie) elicit moving performances from their nonprofessional actors, who ground the somewhat breathless action in a streetwise realism.

Sam Riley is fascinating as Curtis, a hypersensitive young man hobbled by his incurable disease, and Samantha Morton is poignant as his put-upon wife.

Lior is an irrepressible character as he works a room, doing exactly what a bar mitzvah boy should: challenging, instructing, and, in his own way, healing the world.