Claudia Puig

The very definition of charming.

Provocative, issue-oriented thrillers are in sadly short supply these days. But The East fills the bill with its examination of the intense commitment and anarchic impulses of eco-terrorist organizations. It's a fascinating subject on which to anchor a spy thriller.

This is a perfectly pleasant, entertaining and often witty romp with engaging performances.

Birth presents an intriguing premise about death and the possibility of rebirth in an elegant, melancholy and deliberate fashion.

Though the competition hasn't exactly been stiff, Fey and Poehler may well be the best female comedy duo since Lucy and Ethel.

Like "The Departed" and "Gone Baby Gone," What Doesn't Kill You is an engrossing, gritty, sharply written and well-acted drama set on the mean streets of South Boston.

Emphasizes backing up wishes with hard work. That proviso is a thoughtful message for young moviegoers.

A quintessentially European, methodically paced and intelligent slice of life.

The movie features a musical score aimed more at boomer parents than their tykes.

What gives In the Land of Women its singular charm is the charismatic Adam Brody, the star of TV's "The OC."

A poetic and lovely tale, told as a silent picture with music and narration.

Stands apart for its raw, quiet emotion and its shattering sense of truth.

A film noir detective story that works for both devotees of the series and the uninitiated.

Though the experience is nerve-racking and cathartic under Campbell's skilled direction, musings on family and grief and Gibson's intense, but subtle, performance stay with us longest.

The Greatest raises compelling questions about how parents continue on after the death of a child.

A raw and powerful suspense thriller.

Besides being filled with Chappelle's hilarious sense of humor, the movie features life-affirming messages and great music by serious rap artists with political, socio-cultural and spiritual themes.

Displays so much promise with its beautiful cinematography and superb portrayal by Cate Blanchett that you scarcely notice (or even care) that the story is a bit thin.

When a movie is a hybrid of this sort, it can be tough to strike just the right tone. Mostly, The Hunting Party manages.

Though not exactly a valentine to the octogenarian Nobel Peace Prize winner, the film is a lovingly rendered, candid and intimate portrait.

Earth to Echo is about adventure, bravery and excitement, but mostly it's about friendship— a subject that resonates with audiences of all ages.

A timely story, given the political upheaval in Iran, it is emotionally explosive. It also is profoundly compelling.

This latest Bourne doesn't send adrenaline surging the way "Ultimatum" did, but it's still a tense, well-acted thrill ride.

The story of healing and courage is told with a refreshing lack of cynicism, not surprising since it's from the same producers as the wonderful "My Dog Skip."

A touching story of hope, vitality and art rising from the bleakest conditions.

A psychological drama with an intriguing ambiguity that challenges the viewer's loyalties and preconceived notions. For the first half of the movie you find yourself on the side of a hunted man. Then as the story unfolds, his pursuer becomes the one you root for.

Not for everyone. It is darkly funny, intellectually challenging and obliquely didactic. It also grows bleaker over the course of its nearly three-hour running time.

The ensemble cast is strong. At its silliest comic moments it has a sitcom flavor, but the overall effect is gently amusing.

Whedon weaves a story that allows each of the heroes to do what they do best. And while they may not have exactly equal time, audiences get enough of each to feel satisfied, but not sated. Clever work, indeed.

Briskly paced, suspenseful thriller.

An L.A.-based story with more turns and curves than a Hollywood canyon.

If you're willing to embrace a bit of corniness for the sake of some incisive humor, a few poignant moments and enjoyable scenarios, make time for The Holiday.

A powerful and evocative account of the efforts undertaken to forge a perilous mother-and-child reunion. Told in Spanish with English subtitles, it is a moving tale of yearning, as well as unflagging courage and determination.

Though the story teeters on easy sentimentality, it doesn't succumb. Though unabashedly emotional, it isn't maudlin. Tsotsi's story feels believable. It is made all the more engaging by a wonderful soundtrack of African Kwaito music.

Peña is a standout, and Longoria is a revelation as the vulnerable, pregnant Paulina. Hers is a decidedly un-glamorous part and Longoria compellingly fleshes out an under-written role.

A visual treat with an engaging story that has an uplifting, but not maudlin, message.

Not brilliantly funny nor incisively clever, Intolerable Cruelty is still moderately satirical and laugh-out-loud enjoyable.

Decidedly more thought-provoking than most big-studio summer fare.

There's nothing touchy-feely about Killing Them Softly, a stylish thriller worth seeing -- despite its relentless violence -- for its sharp dialogue, mesmerizing photography and gritty performances.

A sweet, family-friendly retelling of a touching and funny Newbery Award-winning children's book.

Not as incisive a political commentary as "Thank You For Smoking," American Dreamz lampoons the public's appetite for mindless entertainment and easy distraction from serious concerns.

A moving tale with wryly funny moments.

JCVD is a whimsical twist on the biopic, sending up heist movies and breaking cinematic rules to interesting effect. At a critical moment, Van Damme rises out of a tense hostage situation to look into the camera and speak movingly to the audience. He has never seemed more convincing.

Not only is Saved! subversively funny, it is unexpectedly sweet.

With its vibrant sparkle and enchanting visuals, Cinderella almost makes you believe in magic.

Warrior is a relentless, emotionally engaging family drama and underdog saga with touches of "Rocky" mixed with "The Fighter."

Yes, it's loud, explosive and silly, but it also perfectly embodies the concept of a summer blockbuster with its simple good-guys-vs.-bad-guys plot, cheeky humor and flawless special effects.

The film is involving, nimbly acted and smartly directed, though conventional in its narrative style.

Well-crafted, Tarantino-esque story.

Whereas the book was lyrical and moving, the movie is surrealistic and inventive.

May not be a straightforward bio, nor does it offer much in the way of Barris' motivations, but the film is an oddly fascinating depiction of an architect of pop culture.

Affleck ought to do more quirky character roles rather than leading-man parts in action films. Bateman plays his low-key straight man/protagonist to perfection.

The film drips with honest emotion and confusion.

As played by Oscar Isaac, he's snidely funny, world-weary and deeply sad. Though his story is enigmatic, the film itself is brilliantly acted, gorgeously shot and altogether captivating.

Unlike many action thrillers where the viewer is fairly certain that no real harm can come to the protagonists, such is never the case here. In this gritty ride-along, we sense that anything can happen, which adds to the propulsive momentum of a riveting story.

An exhilarating sci-fi action thriller with a powerful social and political message.

A potent combination of rousing music, appealing performances and an uplifting story renders this film-festival favorite nearly impossible to resist.

Like "Blazing Saddles", A Million Ways to Die in the West has a slew of comic set-ups and one-liners that kill. And, as with Mel Brooks' classic 1974 film, it steps unabashedly into vulgar terrain.

If The Pursuit of Happyness didn't star Will Smith and his adorable son Jaden, it might be just another tearjerker rags-to-riches story. But their chemistry raises the level of the film, making it heartfelt and compelling.

Most noteworthy for the performance of Sigourney Weaver as Linda, an autistic woman.

There's a new heist film in town that follows the conventions of the genre and then adds a couple of fresh and endearing twists.

The world of the fanciful fable looks particularly vibrant this time with its signature blend of realism and fantasy. It is a pleasure to watch these fairy tale folk be themselves -- yet again.

What results is amusing, gently entertaining and might induce a tear or two.

Dark humor intersperses with poignant moments. Though the conclusion feels forced, the movie works.

The visuals are impressive, while the goodhearted and endearing story is a little slight.

What the film does best is remind us of the brilliance of Keats flame and how it was extinguished far too early.

Night Moves is a thoughtful, clear-eyed and provocative film that raises thorny questions but doesn't offer easy answers.

The fictional premise is used cleverly to illuminate the creative process and explore romantic minefields, and the appealing Ruby Sparks has a low-key, polished charm.

With its introduction of wonderfully memorable characters and blend of humor, action and catchy tunes, Guardians is perfectly pitched escapist fun.

Singh brings cheeky humor, an eccentric sensibility and an enchanting look to his re-imagined tale.

The musical numbers, with Brown's remixed vocals and Boseman re-creating his signature dance moves, are mesmerizing.

Doesn't always have a clear path, but that is part of its meandering appeal. It asks if true love exists, then renders it a rhetorical question.

The movie works mostly because of the artistry of its stellar cast and heartfelt script by writer-director Paul Andrew Williams.

A refreshingly silly and clever portrait of a strikingly daft and clueless man.

Shaolin Soccer's infectious style has a way of lifting spirits. You don't have to be a fan of soccer or kung fu to enjoy it.

It is a rare performance when one of the world's most recognizable stars can disappear completely into a character on the screen.

There are ribald jokes and gross-out episodes, but the movie works because everything hinges on the camaraderie and undeniable chemistry between Rudd and Segel.

Marked by clever twists and turns, the story unfolds at just the right pace. The dialogue -- adapted by Polanski and British writer Robert Harris from Harris' novel The Ghost-- is incisive and interspersed with wit.

Bruno Coulais' musical score provides an evocative counterpoint to the often dazzling photography. A scene featuring diving sea birds and whales moving in concert with the rhythm of the waves is stunning.

Smashed is quietly affecting, though sometimes difficult to sit through. The saving grace is Winstead's smashing performance.

Highly imaginative and consistently amusing without pretensions.

Though the plot can be vague and occasionally convoluted, Harrelson is mesmerizing.

Clooney has excelled in serious roles - notably in "Michael Clayton" and "Syriana." But his Jack, a brooding assassin seeking redemption, is a bigger departure, and he pulls it off well.

As suspenseful as any episode of Showtime's "Homeland," which director Michael Cuesta also executive-produced.

The film's resolution is uplifting but not unrealistic, and Pariah exercises restraint by not tying up every loose end.

Crazy Heart, based on a 1987 novel by Thomas Cobb, also has great music. Even if you're not a country music fan, the songs, by T Bone Burnett and the late Stephen Bruton, are infectious.

Poignant and well-acted, it offers heartfelt moments leavened by subtle humor.

As a film that pays tribute to vintage '50s Hollywood, Broken Embraces is a visual delight.

When it comes to sheer spectacle, Star Trek, as re-imagined by J.J. Abrams, delivers.

Those who appreciated "Metallica: Some Kind of Monster" will probably enjoy this documentary.

A high-octane mind game best enjoyed by following a key character's advice: "The Source Code is a gift. Don't squander it by thinking."

Talk to Me speaks powerfully to audiences with its potent blend of extraordinary performances and engaging soundtrack.

Moon, a superb first feature directed by Duncan Jones (David Bowie's son) and starring an impressive Sam Rockwell, is an intelligent, evocative and deceptively low-key sci-fi adventure.

If moviegoers suspend their disbelief -- easy enough thanks to the diverse and talented cast, as well as Spielberg's capable direction -- they're bound to enjoy this cinematic fantasy.

The movie's appeal is largely the result of the perfectly cast James Marsden as Fred, a lovable slacker who accidentally injures a floppy-eared rabbit who calls himself E.B. (perfectly voiced by Russell Brand).

It's a pleasure to watch these men perform. These are real-life guitar heroes. But it would have been a treat to see more of them talking shop.

Enlivened by a strong cast, Cesar Chavez is a straightforward and inspiring account of a noble man.

Blue Car is like an unpolished sapphire, at once harshly realistic and resplendent.

It's certainly not Mamet's signature rapid-fire dialogue, but it's an intriguing and engrossing departure.

More admirable than riveting, Fair Game works best as a portrait of power games at the highest levels.

Side-splitting laughter, along with some powerful cringing, are likely to be audiences' dominant reactions.

Walker is adorable, but gives a one-note performance. Greenwood, a charismatic and unsung character actor, has the most noteworthy human performance as a somewhat arrogant academic whose decency keeps him from becoming a stock villain in a formulaic story.

Unlike most rom-coms, Celeste and Jesse Forever delves into the complicated heart of relationships, exposes some painful truths and allows melancholy to co-exist alongside breezy humor.

Frisky fun made all the more entertaining because of the potent chemistry between its quartet of lead actors.

Boaz Yakin's slick direction, marked by quick cuts, unstinting energy and a lack of sentimentality, makes the action scenes satisfying. But he's a better director than writer.

It's not quite up to the caliber of Richard Yates' novel, which is deeply nuanced and rich in subtext. But the performances are superb, and the film is beautifully shot.

The script is consistently humorous, even if a few punch lines are predictable and the wit is neither highbrow nor split-a-gut funny.

Notable for the easy chemistry of its ensemble cast.

At its best in scenes featuring Hathaway's mercurial character. It's a triumphant and darkly nuanced role for her and a departure from the more lighthearted comedic performances she has given.

Someone in Hollywood ought to speak for the trees, and The Lorax does it with verve and vibrancy.

The familiar dialogue here makes one long for something closer to the edginess of "Manhattan" or the offbeat humor of "Vicky Cristina Barcelona."

Though it could work as effectively as a television vehicle, American Teen is revealing, funny and involving.

A touching and illuminating documentary.

The film takes a long time to unfold, and some scenes feel inert. But ultimately, the conclusion is moving and satisfying.

Amid the razzle-dazzle, Spy Kids 3-D: Game Over is sweetly inspiring.

The film's most climactic moments involve the chilling audiotapes of avaricious Enron traders as they toy with California's energy crisis, wringing millions in profits from the misfortune of an entire state.

While there is a vague hint of a vanity project in a few extraneous scenes, directors Barbara Kopple and Cecilia Peck have fashioned a compelling and rousing film that will not only appeal to Chicks fans, but make fans of those who weren't before.

The Intouchables is an exuberantly charming French buddy comedy that proves an audience will suspend disbelief and follow an unlikely story as long as it's superbly crafted.

As a new chapter in the superpowered arachnid saga, it stands on its own quite nicely, focusing more on human emotions than on a panoply of special effects.

Based on the captivating novel by Myla Goldberg, Bee Season is evocative and superbly acted.

The soundtrack (which includes James Brown, Michael Jackson and The Commodores) is better than a K-Tel "Best of the '70s" compilation, and the broad physical comedy is as reliable as a brick house.

Writer/director Philippe Claudel knows just how to structure a character study of this sort, so that key elements and important secrets are revealed over time, piquing our interest. The film is almost like a novel or short story, so one's curiosity is satisfied slowly.

A welcome adult alternative to summer's sophomoric blockbusters. The only transforming going on here is actors skillfully taking on roles of '30s-era gangsters and lawmen.

It's a story that could only happen in an era of YouTube and American Idol. Well-chronicled and fascinating, Don't Stop Believin' is a cinematic journey well worth taking.

The cringingly wacky scenarios, offbeat characters and comic dialogue serve up a crowd-pleasing, laugh-filled experience.

Rarely is the second film in a horror franchise more frightening than the original, but Paranormal Activity 2 has more innocent victims and more scares than its predecessor.

Shannon's restrained and mesmerizing portrayal, bolstered by an excellent offbeat supporting cast, makes for an edgy and compelling Mob yarn.

By adhering to the romantic-comedy formula, The Invention of Lying stops short of being truly inventive. But enough sequences are fresh and inspired to make this a comedy honestly worth catching.

Brosnan and Dyrholm are irresistible, communicating volumes with mere glances as well as sharp dialogue.

The only character we get to know fully as she evolves from child to older woman is Vivi. Too bad the movie didn't also trace the lives of her "sisters." That might have been divine.

Though the effort is uneven, it's a well-acted romance that becomes a less compelling courtroom drama.

The all-Lego adventure is warm and witty, showing flashes of satire.

Friends With Kids takes a fresh and funny look at a familiar subject, with enough buoyant romance to satisfy audiences drawn to starry-eyed love stories and hopeful endings.

A suspense thriller that intelligently explores the ideal of lasting love.

This charming but slight tale has warmth, wit and interesting characters compassionately portrayed.

An old-school documentary that is both non-controversial and uplifting, America's Heart & Soul could be subtitled the Anti-Fahrenheit 9/11.

Catherine Keener is also believable and sympathetic as Lopez's editor and former wife. But the film's power comes down to the strength of the two superb lead performances.

Its stylish and gritty authenticity is superbly suited to this murder mystery.

Notes on a Scandal may be disturbing, but it is a potent and captivating account of misconduct and betrayal.

It's a pleasure to watch such top-notch actors deliver Coward's sparkling wit.

The Help sidesteps easy sentimentality. As the film's heart and soul, Davis and Spencer add vast reserves of depth and dignity to a crowd-pleasing tale.

Peter O'Toole's tour-de-force performance makes Venus a movie not to be missed.

If you want to escape all the deadly serious fare of this pre-awards season, run to Walk Hard: The Dewey Cox Story.Why? Cox rocks. This rowdy spoof of music biopics is silly fun and often hilarious.

A breath of fresh air amid the superheroes, aliens and bombastic explosions of summer.

Caramel is a sweeter and more believable version of "Steel Magnolias," Middle Eastern style.

Wright gives the title character a complexity and emotional shading often missing in this kind of ensemble comedy/drama. Pippa has the feel of a heroine in literature, rather than on the big screen.

Watching Rudd bring dimension to what could have been a clownish caricature is the best reason to see this good-natured family comedy.

A potent psychological thriller bolstered by strong performances and an offbeat sense of humor. What renders it an unsettling cut above many thrillers is the casting of Johnny Depp in the lead.

The film itself is dark and chilling, if occasionally plodding, but worth seeing for the absorbing potency of its main performances.

Those with a taste for irreverent humor and clear-eyed analysis will find it funny, enlightening and disturbing.

Endearing and believable, the two actors playing Ellis and Neckbone are pitch-perfect.

It is smart, witty and blessedly unpredictable.

There is nothing flashy about these performances, but Gyllenhaal, Dillon and Gosling fully inhabit their characters, giving haunting portrayals. Watch for these names to emerge on the short list for Academy Award consideration.

An exhilarating fantasy adventure marred only by its length and protracted climactic battle scenes.

With its lush colors, imaginative view of ordinary objects and meticulously crafted miniature civilization, it transports viewers to an enchanting alternate storybook reality.

Don't be put off by the title. This is no sequel, but a surprisingly charming British comedy that is only tangentially associated with "Rambo."

Although it's a quintessential popcorn movie, Wolverine is not mindless. Hood and Jackman bring depth to a comic-book tale of anti-heroes with anger issues.

Gator-filled swamps, an ultra-grungy murderer, racial undertones and a sexually charged atmosphere make up the tense and lurid world of The Paperboy.

Captures a potent sense of the Old West with its multidimensional raw performances and captivating final shootout sequence. But with its emphasis on emotional truths, it transcends the confines of a cowboy movie.

The stories run a gamut of emotions: melancholy, bittersweet, provocative, witty, poignant, silly and fanciful.

Soderbergh takes a deadly serious news story and amplifies and colors it to the point of outrageousness. The results aren't always consistent, but they are undeniably compelling.

Babys is intellectually stimulating and emotionally stirring, a rare combination these days, though hardly unusual for writer/director John Sayles.

This is Disneynature's third and best release, after 2009's "Earth" and 2010's "Oceans." With its compelling narrative of survival, it will probably be the one that most enthralls audiences.

This tale is both redemptive and tragic, if occasionally melodramatic.

Informative, morally complex and supremely well-intentioned, it generally sidesteps sentimentality for appealingly straightforward storytelling.

Drop is based on Lehane's short story Animal Rescue, and the terrific cast and punchy dialogue make it particularly worth seeing, bringing energy to a deliberately-paced tale that occasionally feels plodding.

Insightful gems are unearthed throughout the flawed but engrossing Salinger,a much-anticipated documentary about the author of The Catcher in the Rye.

Solidly entertaining and possesses dazzling special effects, but it falls short of the near-perfection of the Spidey sequel.

It's an oft-told tale, but director Mike Newell's handsome version of Charles Dickens' epic novel is marked by strong performances, well-developed characters and gorgeous cinematography.

Populaire takes an intrinsically boring activity — typing — and makes it unusually entertaining.

Jiro is a thoughtful engineer and a romantic, not a soldier. And The Wind Rises conveys the visual poetry of its titular reference.

Promised Land is an involving and timely tale that explores the changing nature and complex challenges of rural life.

It's irreverently entertaining.

It's a quintessential movie hybrid: a romantic thriller with exciting high-speed chases, brisk comedy and exotic scenery.

Redford methodically presents the injustices piled on Surratt and suggests what might have prompted her stoicism. But James D. Solomon's script is often flat, perhaps in a misguided effort to be stately.

While this third go-round may not seem necessary amid summer's blockbusters, it's an entertaining jaunt back in time with the likably mismatched duo.

Nothing is easily resolved in this complex drama, which makes it all the more honestly moving. More than anything, this is a film about a woman on a journey of self-discovery, finding her way gingerly.

Unexpectedly charming. It's a classic date movie, but it also will appeal to pre-dating tweens and middle-aged romantics.

This is a Frank Capra-meets-Judd Apatow comedy with a sweetness-laced ribaldry.

It's a stellar cast, but you can't help but lament the bad timing.

Eastern Promises has a compelling story and strong performances to back up what may seem excessive or sensationalistic.

While the two leads emerge soulless as melodrama hovers around the edges of the tale, the era is convincingly portrayed and the melancholy mood is hauntingly rendered.

It is a lovely film for the holiday season, as well as afterward, and is reminiscent of "Finding Neverland," without the darker undercurrents.

Both darkly funny and life-affirming, in an offbeat and offhanded way.

In its focus on an ordinary family facing a nightmarish scenario, Snitch is a terrifying but relatable story.

It's Barrymore's most ambitious role to date. She proves she is maturing as an actress.

As frothy and smooth as a chilled margarita on a hot Vegas night.

In exploring the complicated nature of family bonds, Brothers is thought-provoking. The wounds inflicted by the cruelty of a troubled parent can prove as painful as battle scars.

While it reaches for the stars, director Christopher Nolan's Interstellar is a flawed masterpiece...The story is ever-ambitious, sometimes riveting and thought-provoking, but also plodding and hokey and not as visionary as its cutting-edge special effects.

Fortune is smiling down on veteran filmmaker Robert Altman with Cookie's Fortune.

Characters are richly drawn and relatable, though at times stories teeter on melodrama. The overall effect, however, is powerful.

Bubble is a haunting film, made all the more intriguing by the use of ordinary people, not actors, in all the roles.

By showing the struggles and efforts of about half a dozen people, it puts a human face on the tragedy.

While the story is preposterous and most of the cast standard-issue, it's hard not to like a comic-book movie that features both Busby Berkeley-style dance numbers and high-tech vaporizing weaponry.

A refreshingly entertaining character study that refuses to dumb down its youthful cast or bury their concerns in service of a catchy soundtrack.

A compelling and uplifting tale that exposes the viewer to an unfamiliar, fascinating culture and a family dynamic that is recognizable and nuanced.

What vaults the film above the standard sports movie is the stellar performance by Michael Sheen.

Authentic emotion competes with manufactured sentiment for the heart of Lee Daniels' The Butler.

This appealing romantic comedy undertakes the conventions of the formula without an inordinate amount of clichés. Music also infuses the overall plot with a satire of the music industry, and the pop tunes and lyrics are catchy.

A good-natured and engaging fantasy/romantic comedy in the tradition of "Heaven Can Wait" or even "Topper."

Last Chance Harvey is the "Before Sunrise" for the over-45 set.

The new Pelham takes the chilling original premise and modifies it for an era steeped in technology, making for an energetic and engrossing adaptation.

Through its detailed depiction of the lead character and McConaughey's outstanding portrayal, Dallas Buyers Club enlightens compellingly without sermonizing.

For those who puzzled over the "Twilight" hoopla here are Adam and Eve, the artiest, most sophisticated pair of vampires to hit screens in a long time.

Scott seduces audiences with thought-provoking possibilities, then pulls a bait-and-switch, subbing in a familiar monster thriller and fiery explosion-fest.

Just as sharply funny and as heartwarming, yet unsentimental, as the first.

The movie is really a lovely ensemble piece. Beautifully conceived and written by Michael Cunningham (Pulitzer Prize-winning author of The Hours), the film has a distinctly novelistic and literate style.

Unsettling and well-acted story.

So sobering an example of why crime doesn't pay that it could be shown to petty drug thugs to scare them straight.

Fury does capture the brutality of war and the misery of life spent largely confined in an armored tank during the war's final weeks, in April, 1945.

American Sniper's wartime sequences are well-paced and harrowing, reminiscent of those in 2008's "The Hurt Locker." Like that film, Sniper can be interpreted either as a patriotic salute or as an incisive anti-war movie. In either case, it's a powerful, moving and tragic tale.

Whishaw, Hawkins and Downton Abbey's Bonneville strike just the right notes. Imaginative production design, which occasionally brings to mind Wes Anderson's "Moonrise Kingdom," adds to the story's appeal.

"Imitation" illuminates Turing's brilliance in an engrossing and moving film that features a standout, Oscar-worthy performance by Benedict Cumberbatch.

Big Eyes is a fabulous match of artist — Burton — and material. While it's one of the director's more low-key works, his trademark sly wit infuses the mesmerizing stranger-than-fiction biopic.

J. Edgar shines a probing beam of light on a man who was widely feared, often disliked, but rarely understood.

Everyone is well cast and no one more perfectly than Freeman, who is far more God-like than George Burns ever was. Freeman's God is wise, humble, wry, patient and funny but never mean-spirited.

A bittersweet relationship drama with enough honest emotion and gentle humor to move even the steeliest heart.

Hustle's approach to a simple good-vs.-evil plot is eccentrically exuberant.

When Team America works, it falls squarely into the category of guilty pleasure.

A spiritual quest can take many forms. One could argue that all of director Wes Anderson's movies focus on a sense of personal melancholy and directionlessness that often fuels such an odyssey. And they do so with a dark and offbeat wit.

Fassbender's portrayal is truly haunting, and when he sobs, dramatically unraveling, it's clear he's imprisoned by his physical urges.

Imagine a blend of "Snatch," "Ocean's 11" and "The Italian Job." Then juxtapose the staples of the caper genre with real events involving national security and high-level corruption, and the result is The Bank Job.

Worth seeing just for the superb prosthetic makeup and seamless computer-generated effects in which Pitt's head is digitally imposed onto older bodies.

Joaquin Phoenix gives a superbly raw and excruciatingly vulnerable performance.

Dazzling colors, winning characters and energetic visual effects all work in concert, with the 3-D animation serving to intensify the experience.

Spiced with plenty of humor and affection.

Classic rock enthusiasts will want to stick around through the end credit sequence, which features an array of album covers.

Jennifer Hudson is the heart and soul of Dreamgirls. When she's on the screen, the movie shines. When she's not, the whole endeavor suffers.

Amid the style, sass and sexiness is plenty of sentimentality, especially at the satisfying conclusion.

Brüno offers more shock value for your moviegoing dollar than any other movie this year.

The History Boys is an erudite, sharply written film with consummate performances, but its origins on the stage are all too obvious.

The movie makes some missteps, most of them in pacing and length, and the story veers occasionally into melodrama, but it is saved by the powerful performance of Benicio Del Toro.

Rudo y Cursi (which roughly translates to tough and corny) is more raucous and slight than the contemplative "Y Tu Mama," but it is an undeniably entertaining rags-to-riches-to-rags comedy.

The film is about a half hour too long. The third act drags and an extended high-stakes poker game doesn't always keep our attention. But this is a superior Bond.

Though slightly lacking in the warmth of the first, should no doubt please audiences.

Against sizable odds -- a sense that the franchise is played out and its star over-exposed -- Mission: Impossible III delivers.

Danny Trejo plays the long-haired, craggy-faced titular Machete with a combination of swift ferocity and baleful kindliness. And the ladies love it.

It energetically captures the frenzied pace of contemporary existence, the complexities of life in a multicultural world, the rootless joys of living in a foreign city and the heady world of possibilities one envisions while in college.

Once you get past the fact that lovely Emily Blunt doesn't look anything like the dour historical pictures of Britain's longest-reigning monarch, The Young Victoria is an appealing and well-crafted, if staid, portrait of a fascinating ruler.

Narrated by Johnny Depp, a portrait emerges of an anarchic, humble spirit who now fears becoming "a visual polluter."

This fun-loving genre-bender, inspired by "Smokey and the Bandit," opens languidly, then picks up the pace. Even in the midst of cars racing, it's funny and endearing.

The romance, which commences rather gradually, is tender, but not graphic. Humor is interspersed throughout, but there also is sadness, handled seriously. Actually, it is as much a family saga as it is a romantic comedy.

Some could find the story verging on self-indulgence, and indeed there are patches that teeter perilously close. But we care about the two main characters, and we root for them to reconnect as father and daughter.

Paul Giamatti brings just the right blend of irascible charm and caustic intelligence to the role of Barney.

Blowing this small-screen cyber horror tale out to the big screen makes for fresh and fearsome fun.

Though not as far-reaching as the book from which it was adapted, Everything Is Illuminated is a movie with wit, warmth and unabashed emotion.

Claustrophobic, compelling and suspenseful.

It's an intriguing match of material and filmmaker. Dahl's distinctive, edgy storytelling seems to fit well with Anderson's idiosyncratic worldview and visuals.

Though the film will undoubtedly please the young viewers who flock to it, ultimately many of the book's readers may wish for a more magical incarnation.

It has lighthearted moments, but is also suspenseful at the right times.

But reserve dampens the passion in Lust, Caution, his beautifully mounted but rather unmoving film. It feels surprisingly cold, despite this erotic thriller's ultra-explicit sex scenes.

Though unlikely to have the lasting quality of "The Graduate," it feels a bit like that seminal film for today's generation.

Drag Me to Hell is unlike any scary thriller in a while: frightening, frenzied and fun.

With its focus on integrity, creativity and identity, Beyond the Lights is a rare intelligent romantic drama.

The stars make this political drama engrossing, despite its few missteps.

An occasionally schmaltzy but likable story of healing and redemption.

The vividly animated film -- based on a comic strip by Michael Fry and T. Lewis -- has an appealing balance of comic bits and exhilarating action sequences.

The performances are good (some scarily realistic), and the movie is enjoyable to watch. But as a probing analysis of the 43rd president, it falls short.

A poignant look at the legacies of fathers who abdicate their responsibilities.

Richly layered, deliberately paced, dealing with difficult emotions and life decisions, it feels like a moody wintry afternoon.

She has been compared to Lenny Bruce because of her incendiary topics, but Silverman's style, capitalizing on her innocent smile and good looks, is her own.