Calvin Wilson

As the central character in “Polar Bear,” Ruffalo impressively explores the geography of a troubled mind, and makes the journey fascinating.

A must-see — and one of the best films of the year.

Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.

At once funny and poignant — and not just for moviegoers of a certain age.

It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.

Brilliant performances aside, Clouds of Sils Maria is overlong and much too self-indulgently an “art film.” It might have benefited from being just a bit more grounded.

Cotillard gets so persuasively inside Sandra’s skin that it’s not at all surprising that this performance has earned her another Oscar nomination. And she does so without resorting to shameless, award-baiting grandstanding.

A far more interesting film than its title implies. And a film you’ve never seen before.

Oyelowo takes full advantage of his close physical resemblance to King, but he wisely avoids mere impersonation, delivering a performance that’s as sensitive as it is spellbinding.

Throughout his career, Burton has always been capable of surprising audiences. Big Eyes is no exception.

Wahlberg is merely OK. Unfortunately, the film’s effectiveness turns on whether we buy into his angst. And Larson has very little to play. But Goodman and Williams are believably menacing, and Lange is perfect as Bennett’s mom of steel.

Annie is not a great movie musical — but it’s a fun time at the movies.

With Top Five, Rock has finally made the transition to true movie stardom.

Strives to be entertaining, but for much of its run time it is so emotionally uninvolving that even the smallest children might find themselves bored.

Bernal (“Y Tu Mama Tambien”), an actor of Mexican heritage, brings to the role a charismatic resolve. It’s an impressive and impassioned performance.

Laggies is the kind of indie film that gives the genre a bad name.

The storytelling is solid, propelled by characters that you come to care about.

In a stunning performance, Teller resists the impulse to sugarcoat Andrew’s egocentricity. Simmons is equally impressive, lending Fletcher just enough humanity to render his monstrousness all the more shocking.

Despite its intriguing premise, the film amounts to little more than tedious, clichéd melodramatics.

Lots of films claim to be different. Birdman is.

A flawed but intriguing new chapter in animation.

Fury is a guided tour through a manmade hell.

The rare film that will remain on your mind long after you’ve left the theater.

Third Person doesn’t lack for ambition, and it’s nice to see Neeson in the kind of role that he excelled at before he morphed into an action star.

Cold in July has all the qualifications of a midnight movie in the making.

An enthralling lament for an era in which beauty is in danger of becoming extinct.

What Inside Llewyn Davis is all about: the passion, and the pain, of being an artist.

At once a fascinating character study and a scathing indictment of the role of the medical-pharmaceutical complex in exacerbating the AIDS crisis, the fact-based Dallas Buyers Club is one of the best films of the year.

Ultimately hopeful, but uncompromising in its commitment to exposing a tragic chapter in history.

Fruitvale Station has all the impact of a thoroughly researched, well-argued documentary. But Coogler made the right choice in going with drama.

This is the kind of film that benefits from being experienced with as little prior knowledge as possible. As one watches it, certain questions may arise. But don’t worry — the answers are fascinating.

A provocative mood piece. Nichols, who had an art-house hit in 2011 with “Take Shelter,” has a gift for creating characters of unusual depth, and for eliciting performances of emotional resonance. With Mud, he seems to be edging closer to the mainstream, but his skills are as sharp as ever.

To the Wonder teeters between experimentation and incoherence. Does it deserve to be seen? Absolutely. Just be aware of what you’re getting into.

The acting is first-rate. Gosling masterfully fills in Luke’s motivational blanks, and Cooper nicely handles Avery’s evolution from idealist to manipulator.

The Oscar-nominated No has the gritty feel of a foreign film from the 1970s. As such, it may take a few minutes for most moviegoers to adjust to its rhythms. Ironically for a film about advertising, there’s nothing slick about it — and therein lies much of its greatness.

Admission is one film you may not want to get into.

Although The Gatekeepers lacks the stylistic inventiveness of “Fog,” it is nonetheless a compelling account of what can go wrong when power is unrestrained.

The story is so masterfully told that one can't help but be enthralled.

A film that's all the more intriguing for being virtually impossible to categorize.

Unlike too many films these days, Zero Dark Thirty dares to embrace complexity. And that makes it not just state-of-the-art entertainment, but a great film.

Bana ("Munich") makes an effective bad guy. Hunnam portrays Jay as a hero worth rooting for. And Wilde turns in a nuanced performance as a woman in conflict with herself.

The Big Picture ends perhaps a bit too ambiguously, but there's something refreshing about its faith in the moviegoer's intelligence.

As enchanting as it is ambitious.

Superior filmmaking. Yes, it runs almost three hours - but you've probably seen 90-minute films that felt a lot longer.

At once an intriguing character study and a refreshingly offbeat romance.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

The performances are first-rate, with Lindhardt particularly moving as a guy who's in deep denial about just how much he can expect from a relationship with an addict.

Zobel's unsparing approach is justified. This film should be hard to watch - and it is. But it's also hard to forget.

One of the best films of the year.

The Well-Digger's Daughter is perhaps a bit too sentimental. But the performances are so heartfelt that its occasional excesses are easily forgiven. In a movie summer too often obsessed with things that go boom, this film is all about romance.

Particularly memorable are scenes in which Calvin loses his cool as Ruby holds onto her calm. It all adds up to a movie that's sparklingly entertaining.

A cinematic miracle, a film that carves out a vivid space that has nothing to do with wizards or extraterrestrials, but quite a lot to say about the fantastical creatures that roam through the humanity in us all.

As memorable as it is insightful, Take This Waltz is one of the best films of the year.

Alma is at once a charmer and a contrarian, and Bergsholm achieves that balance with seeming effortlessness. At times, she's more than a bit reminiscent of the young Jodie Foster.

This is a smart, moving film that's also very, very funny.

Denham impressively captures Peter's flintiness, rendering him sympathetic yet not quite likable, and Vicius is just right as the wary Lorna.

Bernie could easily have gone horribly wrong. But Black and Linklater finesse this tricky material with as much virtuosity as Bernie brings to that broccoli.

Episodically structured and lethargically paced, the new film attempts to convince us that there's something incredibly charming about an old guy who makes a habit of ogling young women. Actually, the whole scenario is pretty creepy.

This is a film that's not always easy to watch, but just about impossible to forget.

What's lacking is a galvanizing performance comparable to that of the Oscar-nominated Catalina Sandino Moreno in "Maria Full of Grace." Still, The Forgiveness of Blood is a memorable portrait of a society and the demands it makes on those caught up in it.

Isn't as memorable or provocative as it might have been. But it's an engaging love story that should appeal to moviegoers with a flair for the offbeat.

Stölzl blends romance and melancholy in fine style.

The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company."

Like Elizabeth Olsen in "Martha Marcy May Marlene," Oduye brilliantly slips inside the skin of a sensitive young woman who's having trouble finding her place in the world.

The film is a raw, unsparing look at the downside of humanity.

As biopics go, The Iron Lady is among the more intriguing ones.

Yes, Tinker Tailor Soldier Spy is often hard to follow, perhaps overestimating the audience's ability to keep track of what's going on and why. But it's a well-crafted film that wears its old-fashionedness with pride.

As a man committed to reinventing himself, Damon is terrific. And Johansson brings to Kelly just the right blend of spunkiness and hard-won maturity.

As a tale of a boy, his dog and their battles with bad guys, it's a treasure.

The film isn't quite as edgy as Fincher's best work - "Seven," "Fight Club" and "Zodiac" are masterpieces of modern angst. But the director brings a fresh eye to what might easily have been an unnecessary rehash of the 2009 Swedish adaptation.

On its own terms and against all odds, "Outrage" is adequately entertaining, with more than enough cringe-inducing violence and cruel humor to please the average American moviegoer. But true Kitano fans will find its title sadly ironic.

Into the Abyss makes a strong case for the inhumanity of capital punishment, regardless of the crime or the criminal.

Lacks the urgency of "Who Killed the Electric Car?" But Paine's thorough knowledge of his subject, and engaging way with an interview, make the follow-up film a fun ride.

A beautifully realized drama that gets to the essence of what it's like to be young, confused and in love.

The Hedgehog sneaks up on you with its heartfelt storytelling and sophisticated wit.

Pleasant, well-acted but somewhat overlong, The Way was written and directed by Estevez, who's perhaps best known for his acting career ("The Breakfast Club").

Struggles heroically, but unsuccessfully, to strike a balance between whimsy and pathos.

Offers an inside look at Iran in all its cultural complexity.

This film might easily have settled for mocking religion. Instead, it's a fascinating glimpse into a culture that forces some people to choose between fitting in and opting out.

Doesn't rise to classic status, but it's an intriguing mood piece.

Starts out so promisingly that it's a huge disappointment when it ultimately becomes way too predictable - and unbelievable. It's as if "Raging Bull" suddenly morphed into "Rocky."

A documentary that clearly aspires to the highest standards of cinematic muckraking but makes for a frustrating experience.

The Tree might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance.

Sitting through A Good Old Fashioned Orgy is like being monopolized by the most irritating person at a really boring party.

The Debt eventually settles into a predictable groove that slightly undercuts its impact. Still, it's a film of ambition and substance.

Our Idiot Brother is smart entertainment.

Put aside any hang-ups you may have about subtitles. As action flicks go, Point Blank is right on target.

One Day fails to make us care about the young couple at its center.

Wysocki is perfectly cast as a teen who's at odds with both his environment and himself. It's a terrific performance. And as the empathetic Fitzgerald, Reilly is at his quirky best.

Smith turns in a subtly layered performance that suggests the hurt behind Kathy's callousness. And O'Donnell gets to the heart of a man who realizes too late that he's made unfortunate choices.

It's simply an opportunity to spend time with characters who may lack depth but are fun to watch.

A lovably quirky comedy-drama with a rhythm all its own.

Bonnaire, whose films include "Vagabond" and "Monsieur Hire," gets Helene just right, registering her joys and disappointments with finesse.

The Beaver isn't a perfect film, but it's challenging and original.

Superbly acted, and a return to form for Tavernier, who guided jazz legend Dexter Gordon to an Oscar nomination for "'Round Midnight" (1986).

It's an original that plays as if it were based on a novel.

As the highly focused Hanna, Ronan - who had a breakout role in "Atonement" - is simply brilliant.

As popcorn entertainment, it's right on schedule.

A terrific but uncompromising film that's definitely not for everyone.

An inconsequential mess.

Skarsgard, who is perhaps best known for "Good Will Hunting" and "Breaking the Waves," makes the most of his rich role, imbuing Ulrik with a knockabout charm.

An exhilarating balancing act, at once a science-fiction romp, a paranoid thriller and a philosophical treatise.

As a drama about coping with hard times, The Company Men doesn't come close to being as sharp or entertaining as "Up in the Air" - which starred Wells' "ER" associate George Clooney.

Unhurried in its storytelling but unshakable in its impact.

A foul-mouthed comedy, which isn't necessarily a bad thing. "Bad Santa" (2003) also had plenty of crude language and lewd behavior. The difference is, "Bad Santa" was extremely funny.

Might be mistaken for a mere soap opera. But it's actually an emotional symphony.

Seth Rogen is the Green Hornet. What else do you need to know?

Loosely - very loosely - based on the classic Jonathan Swift story, "Gulliver's Travels" begins promisingly but quickly loses its way.

Director David O. Russell ("Three Kings") delivers a film of staggering impact.

A bit slow to get started, and it's nowhere near as funny as "The Hangover." But it'll make you smile.

Pregnant with possibility; it's the delivery that disappoints.

Plays as if Tillman studied the works of director Michael Mann ("Heat"), but got a C on the final exam.

Black Swan is ridiculously over the top, but in a way that makes it fascinating to watch.

A would-be light thriller that's so deficient in the genre's essentials - such as witty dialogue, intriguing characters and surprising yet credible plot turns - that you're embarrassed for everyone involved.

Stone isn't for everyone. But for all its shortcomings, it is courageously original.

Traditional in the best sense.

Although their latest film is not without a certain charm, it quickly wears out its welcome.

A stark, contemplative and hauntingly brilliant film.

A comedy of discomfort -- and one of their (Coen brothers) best, most insightful and most provocative films.

Fulfills its mission, which is to be a crowd-pleasing tearjerker.

Unfortunately, Garcia can't quite resist sentimentality, giving us an ending that's a bit too emotionally neat. Still, Mother and Child is a thoughtful and provocative film about the way we live now.

After watching Post Grad, you may wonder whether Hollywood will ever stop making generic comedies with zero tolerance for originality.

In the early scenes, Cambridge brilliantly conveys Gerber's obnoxiousness while making him sympathetic. Later, Cambridge imbues the character with a blend of outrage and pride that's breathtaking. [31 Jul 2008, p.8]

If you're interested in a drama about a few days in the life of an American abroad, you may find Cairo Time engaging. But for some viewers, it all may be just too subtle.

A film that's at once timely and timeless.

At once an unforgettable war film and a brilliant character study.

Perhaps tracking down the folks responsible for this film should be Milo's next assignment.

Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.

A film that's as much a character study as it is a crime drama. At the heart of it is Caine's hauntingly memorable performance.

Although it has a great look and offers a few thrills, the animated film 9 is one of this year's biggest disappointments.

Has been criticized as endorsing or condoning violence, but that assessment is unfair and inaccurate. If terrorism is to be eliminated, it must be understood, not oversimplified.

Manages to waste the talents of its strong supporting cast, which includes Thomas Haden Church, Patricia Clarkson, Lisa Kudrow, Malcolm McDowell and Stanley Tucci.

In Hollywood, it’s all about the concept, and some studio executive must have thought it would be fun to watch Adams slogging around in the Irish mud. Unfortunately, there’s no accounting for taste.

Involves the gradual revelation of the hopes, fears and insecurities of well-observed characters.

Although Lebanon is to be congratulated for its bold visual strategy and strong antiwar stance, the film becomes claustrophobic after a while.

Nev and the filmmakers prove to be charismatic, and at times hilarious, investigators of the unfolding mystery.

Bursting with smart dialogue, surprising situations and humor that springs from richly imagined characters.

Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable.

Perhaps best appreciated as a character study -- about a character some moviegoers might prefer to avoid. Still, it's a smart, funny film that flirts with the edge.

The comedy is so lame that the whole enterprise comes across as depressing.

Best appreciated as an exercise in style. Based on Martin Booth's novel "A Very Private Gentleman," the film establishes and sustains a mood of suspense, but Corbijn seems only minimally interested in conventional thrills.

Sophisticated comedies have gone out of fashion, largely because Hollywood finds it easier and more profitable to simply gross out moviegoers. But Please Give has real class -- and for that it deserves our gratitude.

Tests the loyalty of fans that may expect his work to be extreme, but not to such an extent.

Washington is surprisingly persuasive as a world-weary blade-wielder, and Oldman makes the most of a not particularly interesting villain. But the film's breakout star may be Kunis, who brings to Solara a blend of sassiness and sexiness that's reminiscent of Michelle Pfeiffer.

This isn't just another crime story, and it would be misleading to suggest that it has anything to do with stylish gunplay, exhilarating car chases or brutal fistfights.

Would have benefited from the kind of objectivity that Bass -- as Sar's well-heeled sponsor -- was hardly in a position to deliver.

Although the film begins promisingly, it proves to be little more than a soap opera.

It's one of the funniest and most perceptive films of the year.

The been-there, done-that nature of the plot doesn't take away from the undeniable sweetness found in Just Wright.

An action comedy that works. But it’s also a surprisingly poignant romance. This is the summer flick you’ve been waiting for.

As a melodrama, Brothers is passable entertainment. But the film squanders the opportunity to meaningfully portray the impact of war on American lives.

Gilchrist ("United States of Tara") is immensely appealing as a kid who's just a bit too wrapped up in himself to grasp that perhaps his problems aren't insurmountable.

Only a heartfelt performance by Diane Lane rescues the film from abject mediocrity.

Not many science-fiction films can accurately be described as poignant, especially those from the kitschy 1950s. But The Incredible Shrinking Man (1957) definitely qualifies. [26 Jun 2008, p.4]

The success of the three, separately screened films -- the first set in 1974, the second in 1980 and the concluding segment in 1983 -- depends not on their specifics, but on their ability to sustain an atmosphere that's appropriate to the dark but haunting story.

Jeunet -- whose influence can be seen in everything from the short-lived TV series "Pushing Daisies" to the Oscar-winning film "The Curious Case of Benjamin Button" -- remains one of the world's most imaginative directors. But Micmacs is a misfire.

The Kids Are All Right probably could have used a few more scenes to come to an even more satisfying conclusion. But it's a terrific film anyway.

Essential viewing for art-film buffs and crime-flick fans, but also for anyone who's looking for a great story, terrific acting and masterful filmmaking.

$9.99 may not be entirely successful from a dramatic perspective, and it certainly offers little enlightenment about the meaning of life. But the film is so intriguing in other ways that it's definitely worth a look.

Green Zone can't make up its mind whether it's "The Bourne Insurrection" or "Hurt Locker: The Prequel."