Claudia Puig

A heartening and poignant affirmation of the transformative power of music.

Love and loneliness are presented, in almost equal parts, with subdued precision in the richly abundant Another Year.

Buddy movies are a Hollywood staple, but Rory O'Shea Was Here puts a new and profoundly affecting spin on the tired genre.

Nuts! is a brisk, engrossing, tongue-in-cheek film that unfolds at just the right pace — and it’s a piece of American history that couldn’t feel more relevant to modern times.

Powerfully honest, insightful and poignant.

Another Earth proves compellingly that science, intellect and emotion can coexist in mesmerizing synchronicity on the big screen.

If it's challenges you're after, forget cracking "The Da Vinci Code." Wordplay captures the exhilaration that comes from navigating the ins and outs of complex puzzles.

Something this gleefully goofy and consistently funny would be welcome in any environment.

It's great to see an action-adventure family film with heart as well as humor, whimsy alongside wisdom, and a compelling narrative.

Depp deserves kudos for fashioning an original and outlandish if occasionally menacing character.

It's a meandering film that prompts the viewer to anticipate characters' actions. Fortunately, they don't take predictable paths.

Epic battles, spectacular effects and multiple story lines make The Two Towers a most excellent middle chapter in The Lord of the Rings film trilogy.

A clever, likable comedy that sends up sexism, satirizes Hollywood, examines family ties and features a surprisingly tender romance at its core.

A compelling drama that establishes Ryan Gosling as one of the finest actors of his generation.

The clash over the house quickly escalates into a modern-day tragedy. It is a fascinating film, handsomely adapted from the book and well directed.

An evocative film with a believable and subtly enthralling lead performance that gets deeply under your skin.

Prisoners is infused with a poetic intensity that's rare in American thrillers. The closest cinematic comparisons would be "Zodiac," "In the Bedroom" and "Mystic River."

A revelation. One rarely sees American-made movies that are so unafraid to explore emotional cruelty and portray the consequences without positing easy answers or attaching happy endings.

Captivating and multifaceted.

Who would have thought a fire-breathing monster could be one of the most adorable on-screen critters since Babe?

It may be the most disturbing film you'll see in a long time.

Even for non-fans, Revenge of the Sith is engrossing, and fans of the series will likely be over the moon -- and into another galaxy -- with this film.

With its almost stream-of-consciousness style, Reprise offers a fresh and compelling look at the vagaries of friendship and creativity.

Joyeux Noël is gritty and disturbing with its extended scenes of war and destruction. It also is emotional, even a touch sentimental.

Though events unravel predictably, the film is profoundly affecting, thanks to a well-written story, rich characters and superlative acting.

A searingly intense and artful tale that grabs hold of the viewer from its jarring and wordless opening scenes and doesn't let go.

Pierce Brosnan is the anti-Bond in The Matador. And though he's anything but suave, sophisticated or debonair, he's a joy to behold.

Serves up an irresistible helping of delicious fun with writing that is tart and sharp and a story infused with sweetness.

As exhilarating, captivating and enjoyable as a summer romance in an exotic city.

It's a provocative sci-fi action film with dynamite special effects, a powerful humanistic theme with echoes of real-life social conflicts, and a truly wondrous performance by Serkis.

A Sundance hit that is both absorbing and bleak, Frozen River is anchored by powerful performances, believable scenarios and excellent writing.

Les Misérables is sweeping, as would be expected given the scope of the hugely popular stage musical from which it is adapted. But it's also wonderfully intimate, thanks to Tom Hooper's deft direction.

Blue Ruin is the rare film that is nearly consistently tense, the suspense only temporarily subsiding about an hour into the story. It's a welcome respite.

This low-key and engrossing Belfast-based drama is as much a well-acted character study as it is a thriller about the conflict in Northern Ireland.

Ghost World draws super, natural performances.

Profound and superbly acted, with a moving script superbly adapted from David Lindsay-Abaire's Pulitzer-winning play.

The original "True Grit" might have been eclipsed by John Wayne's larger-than-life persona, but the Coen brothers' remake is an ensemble piece that feels freshly their own.

Easy A not only makes the grade, but it comes in close to 100%.

Every second Helen Mirren is on-screen in The Last Station is a study in peerless talent.

This is the rare screwball comedy that is superbly paced, cleverly plotted and hilarious from start to finish.

The year's most riveting documentary.

Visionary director David O. Russell so deftly weaves the family's story that we, too, are initially seduced by Dicky.

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

A brilliantly acted and achingly bleak coming-of-age story.

An excellent adaptation of a wonderful work of fiction (The Age of Grief).

Worth seeing not only because it's a highly effective thriller, but also because it's a finely tuned evocation of innocence at the mercy of adult cynicism.

More coming-of-age story than biopic, this Guevara odyssey is a transformative adventure well worth watching.

Like the best French cuisine, Ratatouille is ambitious and delightful.

One small documentary for a filmmaker and one giant leap in inspiration for audiences.

Riveting and darkly comic Super Size Me is a whip-smart documentary.

This is a romantic comedy for people who don't like rom-coms. There's no chance of a happy ending, but its tender mercies speak volumes.

A thoughtful film about ideas — creativity, the power of language and the eloquence of visuals — it features two impeccable performances full of vitality.

The ideal culmination of a fantasy series that has artfully blended excitement, adventure and terror with humor, kinship and love.

About a Boy is a rarity in many ways. It's a well-written, witty film whose memorable characters grapple with the nature of family, love, friendship and despair. Even its soundtrack, by Badly Drawn Boy, is perfectly pitched.

At a time when romantic comedies seem to have exhausted unique ideas, along comes Lars, an original, amusing and heartfelt tale sharply written by Nancy Oliver (Six Feet Under).

A rare blend of emotional content and intelligent material that makes it simultaneously gut-wrenching and thought-provoking.

Overall, however, the manner in which the film blends the tale of an imperiled boy and the history of cinema makes for an ambitious and fanciful ride.

This gem features five topnotch, multidimensional performances in one of this summer's most engaging films.

To avoid revealing too much and spoiling a fresh and intriguing experience, let's just say this: Catch Catfish.

Though the narrative is a conventional one, the well-acted, suspenseful story deals in fascinatingly murky morality and mines intriguing material from a historic and complex city.

Irresistibly endearing, with a visual verve all its own.

With its clever faux documentary style, this is the most imaginative science-fiction movie to come along in years.

We are slowly and mightily drawn into this intimate story, which is both intellectually stimulating and emotionally moving.

When so much of what Hollywood churns out is almost instantly forgettable, it says a lot about a film when viewers want to take time to argue, ponder and puzzle over it.

Does the finest job of any film in painting a believable portrait of aging, capturing the sadness, confusion, anxiety and defiance of the early stages of dementia.

Naji is an expressive actor, and so are the wonderful young non-pros who play his children.

Powerfully disturbing.

Huerta comes across as warm, wise and indefatigable in Bratt’s provocative and inspirational film, but he doesn’t engage in hagiography.

It’s a brutal, blood-drenched story, but also a captivating and poignant generational saga that will stay with the viewer long afterward.

Neruda raises thought-provoking questions, offers no easy answers, and does it in with top-notch performances and a cinematic style that is intellectually, artistically and thematically compelling.

The film is vital for both its history and its currency. Above all, The Death and Life of Marsha P. Johnson works powerfully as a rallying cry for tolerance, love and understanding.

A well-acted, inspiring story of female empowerment, the captivating “Roxanne Roxanne” is as much about survival and the bonds of family as it is about busting rhymes.

13 Minutes is well-acted, with authentic settings and an involving structure, but it’s undercut somewhat by a rather flat love story.

At times, The Infiltrator feels like a movie we’ve seen before, but deft performances and Furman’s sharp sense of the era transform it into an engrossing drama.

With its unflinching style, Training Day can be hard to sit through at times. But it's worth the discomfort for the adrenaline rush of the plot and Washington's compelling performance.

Stardust lights up the screen with a splendid tale of heroism and romance.

If you want a brain puzzler that will ensure a lively conversation on the way home, Nine Queens is the real deal.

A horror movie that follows none of the predictable paths of the genre, it offers disturbing psychological drama and nuanced chills rather than outright terror.

This mid-19th century tale of survival after the death of a parent is still compelling today, and its message of strength and the importance of family continues to resonate.

The look of the film, shot on digital video, is haunting and gritty. The cleaner, prettier look of 35mm would have detracted from the immediacy and sense of foreboding created in this artful blend of sci-fi and pseudo-realism.

Deliberately paced, epic and ambitious, The Good Shepherd feels related in tone, mood and style to "The Godfather."

The spirited a cappella singing in Pitch Perfect makes a predictable, feather-light coming-of-age film irresistibly fun.

Bale's is a pitch-perfect, understated performance in this involving neo-noir thriller.

At the rate things are going, all of Hollywood will put in about a day's work on "Ocean's Seventeen."

This X- Men is indeed first class: an exciting, bold and thoroughly enjoyable summer blockbuster.

Cars is a classic American tale firing on all cylinders and fueled by organic emotion and a lively sense of adventure.

Though it's not likely to become a classic like the Hitchcock film, it's a smart and well-acted teen thriller that serves up some lively scares.

Amiable, consistently amusing and surprisingly affecting, it has the flavor of a Nick Hornby novel, with its focus on an overgrown boy struggling to grow up and be a man.

That he can make his anchorman chauvinistic, deluded and ridiculous but still manage to give him some humanity is testimony to Ferrell's comic talents.

When the original filmmaker upgrades and expands on an idea and uses new technology while retaining the essence of the original story, it can be just the ticket for jaded moviegoers. Such is the case with Mad Max: Fury Road, an operatic extravaganza of thrilling action and nearly non-stop mayhem.

The Heat is the best female buddy-cop movie since, well, ever.

More amiable than witty and relying heavily on the likability and charm of its lead actors, Leatherheads scores more points as a retro romantic comedy than a football saga.

It's a lively, psychologically astute tale filled with humanity, wit and charming performances.

Quinceañera is a spirited and poignant exploration of the bonds and challenges facing a Latino family and the pains of a community undergoing a transition of its own.

Far more coherent than last year's aimless "On the Road" and more sharply focused than 2010's "Howl," it centers on a youthful Ginsberg finding his nascent artistic voice.

Jolie and Pitt project more than just body heat. They convey a multi-faceted attraction, toss off clever repartee and dazzle audiences with their seemingly natural connection. And that's worth watching.

There is enlightenment -- even stark poetry -- in The Passion.

But expect a logical plot, and you'll walk out of the theater with a host of questions, mostly concerning procedural points of the alien attack.

Casanova is an entertaining if silly romp, with amusing dialogue, gorgeous production design and painterly cinematography. Venice, where the movie is set, has never been so breathtaking.

It's a welcome update, qualifying as the best in the series since the first film captivated and unnerved audiences in 2007.

The cautionary tale feels surprisingly fresh and entertaining, given that this is the fifth "Planet of the Apes" film since the 1968 original.

Less ambitious and more narrowly focused than the CIA saga "The Good Shepherd," Breach is a compelling, intelligent drama.

The low-key satire would have benefited from more of a back story to Giamatti's character and a clearer sense of his relationship with his wife. But what we do get is compelling in the way of an indelible, dreamy short story.

Who's more pretentious: hipster Millennials or bourgeois Gen Xers? It's a question While We're Young toys with, if only to provide a context for a sharply observed and witty dark comedy.

A documentary that dissects the essence of comedy as well as showcases outrageous improvisational humor.

Proof proves undeniably that the intimacy of a stage play can be re-created powerfully on screen.

The scenes in Pandora -- a planet with an Earth-like environment -- are so breathtaking that the narrative seems almost beside the point.

The rambunctious Iron Man 3 is a briskly paced thrill ride until about 90 minutes in, when the excitement wanes. A few late-breaking surprises re-invigorate the tale, however.

Almost as impressive as Tatum's moves are his comic flair and breezy grace. He proved his comic talents earlier this year in "21 Jump Street" and shows them off winningly here.

The genre may be old news, but the skillfully made Cloverfield offers a heart-racing experience with plenty of chills, thrills and exhilaration.

Well-acted and intriguing exploration of dishonesty in its varied forms, leavened with a dry comic touch.

An engaging film bolstered by the stellar performance of Julianne Moore.

I'm Your Man movingly captures the artist's lifelong search for truth and beauty and his translation of it into song.

Little Children maintains much of the power, humor and nuance of Tom Perrotta's wonderful novel, but seems unsure if it's a satire or a serious drama.

War Horse will likely take its place alongside beloved family films. But that doesn't mean sitting through it is pure pleasure. It's a long slog at almost 2½ hours, and occasionally it resorts to obvious sentimentality. At times it's hard to escape the sense that we're watching "Saving Private Ryan"-meets-"The Black Stallion."

Carell accomplishes the task of being sweet-natured without becoming cloying.

A sensitive and occasionally poetic film, Brick Lane is an absorbing tale of personal empowerment and emotional growth.

Director Todd Phillips (Old School) has a knack for extreme scenarios and outside-the-box casting. He has made a movie that is consistently funny from start to finish.

The Beautiful Country might be too slow-moving for some, but it has powerful performances and a multi-layered quality. It is an epic journey worth taking.

Solidly entertaining.

Pop culture references intermingle with the loopy trio's iconic foolishness, and the result is a movie with some big laughs, plenty of heart and terrible coifs.

Intelligent and engrossing saga.

It's a family drama that treads on well-worn middle-class territory but is redeemed by the complexity of the characters and the intriguing ambiguity of their actions.

Richard Jenkins and Bradley Whitford are particularly funny in their middle-management roles.

Political scandals are standard movie fare, and this one, which hinges on sex and power, doesn't offer a new take. But that's the point: The all-too-familiar blend of hubris and lust for power makes the machinations no less poisonous and perhaps more regrettable for their sad predictability.

Relentlessly grim and grisly, 28 Weeks Later is not for the faint of heart. But its provocative post-apocalyptic theme makes for a smart and deeply unsettling film.

While Walt & El Grupo could use trimming, it also is visually stunning.

A revelation: funny, fascinating and insightful.

Beowulf couldn't be less faithful to the original epic poem, and that's actually a good thing for moviegoers. It's a lot more fun than the mythic adventure most of us read in school.

Partners is exceedingly well-cast and well-acted, bringing a lightly satirical and witty script to life. Meester and Jacobs have a disarming chemistry, and their conversation is filled with a comfortable shorthand.

It's an artistic and authentic evocation of an era but a rather surface-skimming story of the '70s all-girl rock band fronted by Joan Jett and Cherie Currie. If anything, it just makes you want to know more about Jett's back story and Currie's subsequent life.

Scotsman Gerard Butler does a fine job as the charismatic, ghostly character.

Aerial sequences are often thrilling. However, interpersonal relations are front and center in this installment.

By the end of the movie, all we want is for Barrymore to give him the time of day.

While other Alzheimer's-related films, including "Amour," "Iris" and "Away from Her", delved more deeply into the subject, Alice is understated yet still moving.

The story has its clichéd and sentimental moments. It's no "Raging Bull," more like "Rocky" shot with a handheld camera. But Rourke's wounded tough guy is undeniably captivating.

The soundtrack is mostly Elvis tunes, and Stitch even does an adorable impersonation of the King. As Elvis might put it, you can't help falling in love with Lilo & Stitch.

Given the story's focus on religion and the intolerance that still rages in today's world, The Merchant of Venice remains deeply meaningful.

The film is entertaining if contrived. It is not as cleverly structured as Roos' best ensemble comedy, "The Opposite of Sex," which also co-starred Kudrow. But it does have humorous moments.

Soderbergh does a fine job creating a moody atmosphere of pervasive anxiety. The ending can be interpreted a few different ways and should ignite debate about its meaning.

The story is told gently and simply without excess sentimentality. It is a welcome departure from more contrived holiday fare.

Not only an intelligent, well-told and deftly acted story, it provides refreshing counter-programming in a season filled with noisy, uninspired sequels and mindless action movies.

Impassioned, informative and entertaining, if sometimes repetitive.

Mother and Child is as tangled as the emotions that link parents and children.

The film's most engaging character is not actually human: It's Manhattan, of course, a point made repeatedly over that protracted dinner by the voluble lovebirds.

Though rambling and at times self-indulgent, its wit and pageantry, boosted by Heath Ledger's final performance, render it irresistible.

The Fall is aptly named not only because it pertains to a tragic descent but because viewers will feel as if they have plunged headlong into an alternate universe with this dazzling adult fairy tale.

A surprisingly savory treat, though it doesn't bear much resemblance to the charming classic children's book on which it's based.

An often breathlessly exciting action thriller told with humor and intelligence.

Ruffalo and Knightley make an engaging pair of colleagues and their musical adventure together results in an enchanting, gently funny and occasionally poignant story.

These characters are interesting for their flaws and wounds, but the movie doesn't delve deeply into the sources of their pain. See this movie for its humor and talented cast and you won't be disappointed.

The car chases are unremarkable, but the stunts — which comically juxtapose Tatum's athletic grace and Hill's stocky clumsiness — are a hoot.

Farmiga never seems to strike a false note in any role, but this is perhaps her most reflective and multi-layered performance.

Like "Anchorman," the secret to the inspired absurdity of Talladega Nights: The Ballad of Ricky Bobby is in the improv.

Entertainingly epic eye candy.

Neighbors is the "Animal House" for an era in which food fights seem quaint.

This fun-filled adventure avoids formula with a whimsical story and terrific voice casting.

While it's too hastily and neatly resolved, Hello I Must Be Going is a funny, well-written, involving and emotionally honest tale.

The story has just the right blend of child-centered silliness and winking adult humor.

It's consistently funny -- with witty dialogue and offbeat banter that stays in your head for days.

Intricately plotted without being contrived and exhilarating in its eccentricity.

A junior chick flick. But unlike many of its more mature counterparts, it is emotionally affecting, avoiding the manipulation and formulaic camaraderie that often spoil the genre.

This very funny spoof of telenovelas and classic Mexican westerns is decidedly offbeat and absurdly daffy.

Scarlett Johansson is ideally cast as a rapidly evolving kick-ass hero in Lucy, a stylish action thriller that is equal parts dazzling and ludicrous.

The dialogue is fast-paced and full of pop-culture references. It all makes for an entertaining blend of buddy-cop action and irreverent teen-comedy satire.

The thin story, which sometimes feels like a series of one-liners strung together, is wisely kept short. But the gags are funny and the characters endearing.

While it's the most ambitious of the three films, it's not as mesmerizing as 2008's "The Dark Knight." The plot is occasionally murky, its archvillain lacks charismatic menace, and the last hour is belabored.

While the tension is sometimes muted, this is more than a procedural round of spy games. The deliberately paced but riveting film is made all the better because of Hoffman's breathtakingly nuanced portrayal.

If feuds, drunken outbursts and thoughtless bed-hopping sound like fun, then A Christmas Tale is a hoot. Some wry humor runs through the course of the overly long saga. But there's not enough dark wit to mitigate the tedium and pretentiousness.

Furious 7 offers edge-of-the-seat excitement with outlandish action sequences, inventive stunts, hilarious cartoonish moments and even some touching emotion.

The point of the film is not to scorn or mock the Siegels, despite their excesses. They embody the quintessentially American urge to live beyond one's means. Their saga is simply the story of a nation's materialism writ large.

Earnest and understated, Gran Torino is an unflinching examination of themes that have fascinated Eastwood in most of his recent films: family, war, loss, faith and unexpected human connection.

The Curse of the Golden Flower is the year's most operatic and visually lavish film.

Mashing up satire, subtle social commentary, clever gadgetry, keen wit and high-octane style, this spy saga — based on the comic book series The Secret Service — is bolstered by a terrific cast.

The glacial pacing may put some people off, but it also has a hypnotic quality. And some viewers might find it fascinating to be a voyeur into someone's tortured psyche.

The film's look, fashioned by production designer Michael Howells, is noteworthy for its vibrant colors and fantastical feel.

Artful and emotionally compelling.

The movie cleverly spoofs the 24-hour TV news cycle, as well as sexism and racism in the workplace. Not every scene is equally funny, of course, but most of the comic antics generate laughs.

The quirky film is simultaneously bizarre, humorous, disturbing and suspenseful.

An engaging tragicomedy, exploring the consequences of single-minded fervor in a humorous and humane fashion.

As opposed to modern horror flicks like the "Saw" movies, where gruesome violence can almost blunt fears, The Woman in Black is a tasteful, old-school frightener, emphasizing suspense and foreboding over blood and guts.

Don't be fooled by the presence of some pretty-boy actors: Alpha Dog is a gritty, gut-wrenching and disturbing film.

Though it could probably use an intermission, Grindhouse is three hours of mostly campy fun.

There is no question that the organization is a riveting subject for a film.

Though he looks every inch a brawny Norse god, Hemsworth is not just a hunk. His charisma and charming grin go a long way toward making Thor engaging.

The result is raunchy, energetic, sharp-eyed and a bit rambling.

Charming and inspiring.

What is missing in plot and character development is made up for in silly fun.

This is Austen lite, but pleasantly so. You can hardly fault a movie that fashions itself around a consummate writer whose keen sense of humor and gift for fully realized characters have resulted in countless screen adaptations.

Despite far-fetched plot points - such as a flash mob of bike messengers ready to rumble and thwart evil - it's easy to get caught up in this life-or-death two-wheeled slalom.

A Southern-style "Ocean's 11" without the pretty boys and Vegas attitude but with plenty of laughs.

Those looking to get a raucous laugh should say "I do" to Bridesmaids.

Misfits and misanthropes are the heroes of Role Models, a surprisingly clever comedy.

Rings has moments of edge-of-the-seat excitement, too, such as when the dark riders come looking for Frodo. But it's occasionally tedious when it should be captivating.

A good farce is hard to find. Particularly one that holds up for the entirety of the story and keeps us engrossed, while smiling. Miss Pettigrew Lives for a Day is a particularly effective and cheeky example.

Rodriguez is such a visual stylist, and the violence is so cartoonish, that the flurry of whizzing bullets and growing pile of bodies is not as offensive as it might be.

Inventive action sequences, deft stunt work and breathtaking cinematography make for revved-up fun.

The film is not without flaws. It glosses over the story of the dissolution of Whitaker's marriage and does not delve deeply enough into the source of his problems with his son. A romance with recovering junkie Nicole (Kelly Reilly) rarely rings true.

Scott Pilgrim, a lovelorn musician, is an appealing fusion of nerdy, cheeky and vulnerable. So, who better to play him than Michael Cera?

While More Than a Game is a terrific exhibition of talent, exuberance and skill, it is above all a moving tribute to enduring friendship.

Though the deliberate pace can feel slow to glacial at times, the visuals are gorgeous, and the melancholy mood is exquisitely evoked.

In a season filled with dark-themed films, it stands out as an elegantly mounted, surprisingly humane but terrifying horror thriller well worth seeing.

Sentiment is at its heart. The legions who grew up on Disney's Mary Poppins will find it delightfully satisfying to hear snippets of its enormously catchy songs and watch its captivating creative journey.

Bolstered by the natural performances of a trio of little-known actors, the very watchable Chronicle keeps us captive throughout.

Not an expansive biopic but a fascinating snapshot of a pivotal chapter for Chanel, her formative fashionista years.

It's a rare romantic comedy/road picture that's not only flat-out funny, but also presents complex and well-developed characters.

Forest Whitaker is astoundingly multifaceted and convincing as Ugandan dictator Idi Amin. In the performance of his career, he fully inhabits the part of the barbaric and charismatic ruler.

Director George Tillman Jr. compellingly probes how parentless kids cope without financial resources or adults who give a damn.

Unafraid of stillness and scenes of quiet contemplation, the film also celebrates companionship and community, which are all good reasons to embrace the experience along The Way.

Downey is absurdly funny.

Princess Diana's antecedent, both genetically and figuratively, was a beautiful and glamorous duchess named Georgiana Spencer. Like her descendant, her charm and vivacity captivated England.

The Doors lit rock 'n' roll fires for only 54 months, having formed after Morrison met Manzarek in 1965, when both were UCLA film students. We get a sense of them as bandmates as they hang around backstage or rehearse, garage-band-style.

This is not a simple, uplifting tale. It's never clear whether Charlie will fully recover, and that sense of realism is the film's strength.

Will not be for everyone, but it works if you surrender to its lilting and unabashedly sentimental tale of evocative music and visual poetry.

The final installment of the Hobbit trilogy is the best, featuring more spectacular action scenes as well as the series' most emotionally resonant moments.

The most endearing character in Disney's animated superhero animated movie is a one-man Affordable Care Act. (Make that a one-robot ACA.)

Think "Boogie Nights" meets "Casino," though it's not likely to make the lasting impression of either seminal film.

Compelling tale of a free-spirited record producer, played with perfect pitch by Frances McDormand.

It's hard to beat the last movie, "Harry Potter and the Prisoner of Azkaban," and this film is not better, but it has much to recommend it.

It does deliver a combustible combination of ingredients for a summer blockbuster: a cornucopia of action and dazzling effects, some raucous humor and a large dose of Depp's winning charm.

Amusing, charming and pleasantly nostalgic.

An engaging and exciting family film that at times feels a bit like "The Lord of the Rings Jr."

Though it features no battle scenes, The Notebook shines a powerful, unflinching light on the horrors of World War II.

The film is uneven and about 15 minutes too long. But when it's funny, it's hilarious.

George is cute, and the simple story has its entertaining moments.

Godzilla 2014 is a more somber and frightening reboot than the cartoonish 1998 movie.

As subtle and shattering as its title.

It's a provocative game that plays out with intelligence and wit.

Iron Man's biggest strength is that the fantastically armored suit doesn't overpower the intriguingly flawed character encased within.

Despite its melodramatic moments, remarkable performances drive home the film's inspiring message.

A refreshing, mature fairy tale.

Nathan Lane steals the show in this tale of a high school English teacher who becomes obsessed with a student's play.

Silver Linings is consistently entertaining, with its scrappy, well-drawn characters, offbeat humor and indefatigable positive outlook.

It's a maniacal performance, complete with mad gales of laughter and insane bouts of temper. Cage doesn't go over the top, but he teeters darn close.

The layered film's blend of Austen-style romance, courtroom drama and historical look at the British slave trade works surprisingly well, though there are moments — especially involving the conniving suitors — that teeter on melodrama.

Where "United 93" was a superb example of masterful storytelling, World Trade Center is a more conventional rendering.

The Illusionist casts an exquisitely bewitching spell with its dreamy atmosphere and pervasive sense of suspense.

Albert Brooks may have come up with the funniest movie premise of the year in Looking for Comedy in the Muslim World.

The saga ultimately lacks the emotional wallop of the TV version. But its clever writing, strong performances and sumptuous production design make for a rich experience nonetheless.

Love Actually is irresistible. You'd have to be Ebenezer Scrooge not to walk out smiling.

Disappearing into the role of the troubled actress, Williams' portrayal captures the star's breathy voice and distinctive mannerisms, while delving a few notches deeper.

A cross-cultural charmer, an endearing true story told with intelligence and warmth by director Niki Caro (2002's Whale Rider).

Each character is decent and likable, as well as complex. The four main portrayals are outstanding -- so natural and believable that you are drawn into their story immediately.

While it doesn't scratch much below the surface, The September Issue is an entertainingly voyeuristic glimpse into the fashion world.

A charmingly sweet experience.

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

The movie really belongs to Phoenix, who gives a haunting performance with just the right degree of intensity.

This portrait of the soldier as an old man is deeply moving.

A vigorous spy thriller that consistently beckons the viewer to catch up with its narrative twists and turns. Bordering on convoluted, it works best when in combat mode.

Compelling, poignant and gently funny.

Rather than a glossy, superficial movie-star vanity project, In the Land of Blood and Honey feels like the sober, hard-hitting work of a humanitarian.

This is a powerful, poignant and provocative film, told in an unconventional and effective fashion.

A haunting and disturbing film, set in 1938, about "widow houses." Though occasionally overwrought, it emerges as life-affirming.

Trade unflinchingly sheds light on a heinous crime. Yes, it's tough to sit through. But don't let that keep you away.

This pop-culture-infused mistaken-identity thriller ultimately grabs hold and beguiles, though its convoluted plot takes a while to get going.

The best thing Hustle & Flow has going for it is Terrence Howard's powerful performance.

The film employs a largely British cast that is perhaps the most impressive ensemble of any movie this year.

One of the year's most clever and visually arresting computer-animated films, enlivened by a well-developed and credible cast of characters who just happen to be superheroes.

Should warm viewers' hearts globally.

The good-natured silliness is contagious. When Streep runs singing through a Greek village, it's like a spirited homage to "The Sound of Music."

This is definitely the year of Philip Seymour Hoffman.In Charlie Wilson's War, he and Tom Hanks make a particularly sharp and engaging duo, bouncing clever lines off each other as if it were a verbal ping-pong match.

A rousing spectacle.

Sweet, family-friendly and philosophically complex, Tuck Everlasting is an unexpected delight.

Whatever problems some might have with its execution, it's hard to argue against a film whose intent is to kindle youthful compassion for living things and inspire action to protect Earth and its creatures.

Quartet is endearing, sometimes even irresistible.

The improvised dialogue has a no-holds-barred quality that can hit or miss. But when it hits, it can be hysterical.