Carina Chocano

It's the kind of observational comedy, that'll be hard to find come summertime and should be enjoyed while there's still a chance.

A well-photographed inside look at a fascinating culture and its people.

There's a rawness and immediacy to his (Bujalski's) work that cuts straight to the experience, a starkness that's startling in an age of bloated spectacle.

In some ways, it reminded me of the final "Seinfeld" episode. As much as I laughed throughout, I kept wondering what was with all the emotional lessons.

The animated tale has flashes of brilliance but seems assembled from cultural flotsam.

Takes a premise that, in less competent, less empathetic hands, would have had the depth of a pancake, gives it a soul and turns it into a surprisingly sweet and funny ode to male friendship and middle-aged love.

Leatherheads proceeds agreeably, hitting occasional high notes when it isn't getting bogged down in forced slapstick hi-jinks.

The movie is one of the few films I can think of that examines the baffling combination of smugness, self-abnegation, ceremonial deference and status anxiety that characterizes middle-class Gen X parenting, and find sheer, white-knuckled terror at its core.

At one point, Klores thought about making a feature film out of the material, but it's a good thing he decided against it. You could not make this stuff up.

The best thing about the replica is how wholeheartedly Martin throws himself into the physical comedy, which is uniformly hilarious.

Suffers slightly from that not-so-fresh feeling.

Sweet-natured, if somewhat familiar, On a Clear Day features fine performances by Mullan, Blethyn and Sives. Dellal and cinematographer David Johnson paint an inviting picture of Glasgow.

Language this lethal has all but disappeared from the movies, and it's an unmitigated pleasure to observe Caine and Law attack it with such ferocity. Sleuth is nasty fun.

Good Dick carries its messed-up, highly improbable premise so lightly and gracefully that it ultimately comes off as a sweet, plausible and curiously grounded love story -- and touchingly old-fashioned.

Chalk avoids some of the pitfalls of the mock-doc by showing real affection and empathy for its characters, whose funny lives of quiet desperation inspire more than their share of tenderness.

Impossibly long and angular, with a brutally beautiful face, she represents something that's been rare in the popular culture in the past decade: an artist with a voice and a vision.

15 minutes into it, you are spellbound, heartbroken and unaccountably cheered -- your faith and admiration in humanity restored.

28 Weeks Later lacks the streamlined thrust of its predecessor but makes for compelling, adrenaline-fueled viewing just the same.

Why aren't there more American movies like this? I mean smart, unpretentious, sophisticated, un-condescending and cheap.

A sweet, funny and gripping romantic adventure, it's about the limitations of political activism in this day and age, and what happens when your girlfriend and your best friend fall in love.

Gently seductive, genuinely tender and often moving without being maudlin.

Charming and antic, Russian Dolls doesn't quite cohere in the way of "L'Auberge Espagnole" into a clever snapshot of contemporary Europe.

Captures comedian and pundit Al Franken evolving from satirist to activist.

The movie doesn't purport to have her stand for all women, just the crazy ones, and as such, G-Girl is pure, soul-cleansing id catharsis.

Polanski's version, though handsomely realized, is a fairly conventional rendering of the novel that probably won't be counted among his best films.

A surprisingly wry, contemplative movie.

The strange, funny and sad story of a bipolar jazz musician and his long-suffering teenage daughter, reunited after his two-year stay in a mental institution.

The action, heavily influenced by Hong Kong martial arts films, is beautifully choreographed.