Chuck Wilson

The plotting as a whole feels fresh, as does the emphasis on women strong enough to defend themselves.

This filmed record is a musical bliss-out.

A career best for the daughter of Charlie Chaplin.

This is writer-director Hilary Birmingham's first film, and it's a lovely thing, as reserved and unfussy as its characters and, like them, full of surprises.

Writer-director Musa Syeed has conjured a drama rich with incident...but most of the turns of plot feel organic, ours to discover, as long as we're paying attention.

Although parents of small children are advised to give the film an advance look, Holes may nudge older kids toward that most ancient of after-school distractions: reading.

Kane believes in happy endings, but he makes his characters earn theirs, as each couple is forced, ever so subtly, to face its own inner nonsense. The filmmaker has divine actors at his disposal.

This horror comedy is loaded with decapitations, bodies torn in two and spewing blood, and yet, unlike the grim, torture-filled gore-fests of late, Hatchet’s mayhem is so giddily over-the-top that you end up applauding the low-budget aplomb of it all.

Nair, who, in this film as in so many others, aims for the beating heart of the predictable movie moment.

Fascinating film, which tracks Éva's slowly dawning realization that she's being played for a fool, an insight that may be driving her mad.

Smart, goofy and endearing, Cho and Penn make a terrific team, and the fact that they're starring in their own movie suggests that, in the Hollywood comedy frat house, there's finally room for everyone.

Those who can forgive the director's pretensions will discover some fine filmmaking.

Grounded by strong performances by newcomers Featherston and Sloat, who pretty much have the movie to themselves, Paranormal Activity, which demands to be seen in a crowded theater, is refreshingly blood-free.

Visibly uninspired, Pacino gives a perfunctory performance -- though surely he must have looked over at Farrell and been reminded of himself 30 years ago, all jacked-up and beautiful, like a stallion at the gate.

When movie clichés are presented with rigor and feeling, they can pack a fresh punch.

Engrossing.

Grounded in the easy rhythms of daily life, this charming little film shows unexpected grit in sequences set in the white household where Lindiwe works, a place so oppressive that it suddenly seems way past time for South African movie characters - and their home audience - to experience a dose or two of Hollywood-style wish fulfillment.

Zippy, stylish fun.

Screenwriter Vincent Molina and director Fabrice Cazaneuve are wonderfully calm about the tumult of teen life.

Refreshingly quirky comedy.

A bit disjointed but also vibrant and loving.

Despite a midfilm lull of his own, Eisner stages a series of nifty action sequences, nearly all of which feature a moment of surprise, as well as gruesome wit.

Charming, animated retelling of stories from A.A. Milne’s Winnie-the-Pooh books.

What's fun is that the road to that climactic Capitol showdown is paved with one ridiculous and relentlessly edited set piece after another.

Unexpectedly gripping horror movie.

The Strangers: Prey at Night, co-written by Bertino and Ben Ketai and directed by Johannes Roberts (47 Meters Down) has a slow and rather grim first half, but then, in the home stretch, takes a welcome turn into the seriously silly.

Papa Cronenberg must be proud, but be advised: If there's a blood test in your future, book it before seeing this movie.

The new thriller Misconduct is getting kicked to the curb by its distributor, which is too bad, because director Shintaro Shimosawa's debut feature boasts an elegant visual style and a mystery plot with so many absurd twists that the film becomes enjoyable high melodrama.