Carina Chocano

Witty, unhinged and fearless, it's exactly the kind of movie we need now.

Can't rightly be called a romantic comedy in the dismal, contemporary sense, though it is at times romantic and is consistently very funny. It's also emotionally realistic, even brutal.

It's rare for young actors to exude as much charisma and charm as Gainsbourg and García Bernal.

Impressive as is Wilson's output and oeuvre, it's the fully-engaged, aesthetically driven life that fascinates. And Otto-Bernstein's movie is a portrait of an artist at his most essential, in every sense.

What it offers isn't really a nostalgic look at a "more innocent time" so much as a saucy wink at a casually vicious time that is constantly being sold to us as innocent.

It pretty much keeps its pulse steady, its blood cold and its nerves tamped down -- which, combined with cinematographer Remi Adefarasin's architectural Hitchcockian flourishes, lends a queasy, cool air to the proceedings.

As original as it is lovely.

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.

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

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

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.

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.

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.

The sweetest thing about Fred Claus is that the message about filial love feels genuine. I wouldn't have expected that watching Giamatti tell Vaughn, "You're the best big brother anyone could ask for," would make me choke up, but it did.

A confoundingly mercurial figure, Fujimori is a fascinating subject. But in her focus on the man, Perry fails to paint a broader picture of a racially diverse and extremely complex country.

Enthusiastically smutty and lyrical, the movie attempts to capture the way we unconsciously set the emotional moments of our lives to pop music, turning fits of passion, anger and righteous indignation into elaborate musical numbers in our heads.