Claudia Puig

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.

Diverting enough if you want to see plenty of fast-paced action sequences, some heart-stopping chase scenes and plenty of things blow up.

While the talented quartet play these hypocritical sorts with finesse, the story grows tiresome, its cynical point made early and often.

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

The Little Hours is no one-trick pony. While the lunacy of nuns who swear like sailors makes a comically boisterous impression, it’s also about women in the Middle Ages forced into religious life for various reasons and how they cope, viewed through a decidedly humorous lens.

The Painted Veil is a welcome addition to the slate of holiday movies, particularly for those drawn to intriguing tales of multi-dimensional characters in exotic settings.

Though the premise is clever -- everything comes to life at night in New York City's Natural History Museum -- this movie doesn't make the best comic use of the concept.

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.

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.

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

With the lackluster quality of its characters — aircraft, a smattering of trucks, RVs and motorcycles — the movie makes Pixar's Cars and its sequel look like masterpieces.

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

The notion that children are raised on fairy tales and the question of how those early stories affect us all — even into adulthood — remains fascinating and is delivered here with visual panache and musical flair.

After "Monsters, Inc.," this movie may be a bit of a letdown, but there are some scenes that will delight elementary-school-age children and older preschoolers -- notably the gross-out moments.

Chicken With Plums is not a thoroughly delectable concoction, but its exotic flavor is worth sampling.

Sayles is clearly aiming to construct a multilevel character study and sociological portrait, but too often the film lapses into a lecture.

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.

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

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

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.

The movie is well-written, well-acted, acerbic, funny and wisely observed. Fans of the book will be glad to hear it is faithful to Green's tale.

While Kristen Wiig fully commits to her bizarre, mentally ill character in Welcome to Me, the result still feels more like an extended sketch than a movie.

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.

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.

A few scenes in World's Greatest Dad may qualify it as the most uncomfortable and unsettling movie to sit through of any this year.

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.

An ambitious and occasionally illuminating hybrid documentary. But a cacophony of sights and sounds and a disjointed narrative dilute the message.

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

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

Crazy Love is pulp non-fiction.

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.

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

Cinematic poetry in black and white. It also is a deeply affecting tale of the power of resilience and an unflagging sense of humor through the worst of situations

Doremus' elegant filmmaking is key to the appeal of the film, but it would never work as superbly without the wonderfully natural, believable performances and powerful chemistry of the lead actors.

Sometimes Crazy, Stupid, Love captures the complexity, humor and sweetness of relationships. But in several scenes, the film takes that insight and replaces it with farcical coincidences and strained scenarios that undercut the poignancy and wit.

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.

The movie is so impressionistic, it obfuscates any sense of history. We expect at least a hint at the causes of the Mayan Empire's demise, but instead we get Mesoamerican Rambo.

The much-publicized collaboration between producer Peter Jackson and Spielberg sets high expectations. But while the technical artistry is there, the film lacks a sense of magic, intrigue and mystery.

The net result is an entertainingly frightening film that keeps the audience in a state of alarmed, but eager, anticipation.

Slogs pokily along and never quite picks up speed.

The Homesman aims for a story that's poignant and told sparely, but comes across as mawkish, tedious and self-indulgent.

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

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.

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.

Sophisticated and universal yet deeply intimate, A Separation is an exquisitely conceived family drama that has the coiled power of a top-notch thriller.

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

Kids should enjoy the comic performances of the animals, and adults will appreciate the film's gentle poignancy, powerful enough to induce a lump in the throat.

Some of us look forward to Guest films the way others pine for installments of Bond or "Star Trek." This skewering of Hollywood will entertain we "Guesties," but it's not at the top of his roster of parodies.

The captivating documentary Chavela, directed by Catherine Gund (“Born to Fly”) and Daresha Kyi, mesmerizes with its impressionistic blend of archival photos, musical performances, concert footage and candid interviews with the legendary singer herself, as well with her ardent friends like Pedro Almodóvar and former lovers.

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

Patricia Clarkson, who has emerged as one of the screen's best character actresses, plays Brooks' wife with intelligence and down-to-earth warmth.

Williams is hampered by her character's limitations. What results is a mannered tale of an immature, empty vessel.

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

More than anything, the movie makes the viewer want to hop on a plane and visit Iceland.

The story undertakes an undeniably worthy subject. But Thank You for Your Service has too many moments that fall flat, seem unlikely, or don’t elicit the desired response. The complexities of PTSD deserve a better, more thoughtful and layered film.

If a pointless and nasty Hollywood satire filled with vile characters and no one to root for sounds like a good time, go see Maps to the Stars.

John Wick serves up a noxious, clashing blend of hyper-realistic and cartoonish violence. Too bad there's no cinema decontaminating service that can wash our memories clean of such useless gore.

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

One of the best films of the year.

The film is likable, with some funny moments and recognizable human conflicts. But the origin of the women's friendship is not explained, and the nature of Olivia's problems is not examined or taken very seriously, making her seem inexplicably lost and shallow.

No-frills chills are what Paranormal Activity offers in unrelenting supply.

A riveting crime thriller, it's also a multi-generational familial saga that approaches Greek tragedy.

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.

Though there is plenty of gunplay, this is a wondrously contemplative and poetic saga that offers a fresh and bewitching take on a timeworn genre.

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

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

Mostly, Harold is a guilty pleasure that retains the anarchic charms of the original.

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

Noah is no by-the-book Bible story. Think of it as a visually mesmerizing sci-fi adventure saga loosely based on the book of Genesis.

To paraphrase Devo: Whip It, not so good.

Despite its flaws, Shutter Island is worth seeing for the palpably nightmarish and gothic world conceived by Scorsese

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.

Once is a film for anyone who has ever been transported by the power and passion of music.

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

An intriguing and somber tale of disintegrating and disappointing relationships fused with a coming-of-age story.

Slither is old-school gooey, slimy, silly B-movie fun.

Sharply written, superbly acted, funny and even occasionally touching.

Bolt borrows amiably from a host of sources, including "The Incredible Journey," "Lilo and Stitch" and "Toy Story 2."

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

This clever, low-budget film kicks the concept up a few notches to mesmerizing.

The documentary's scathing attack on the war in Iraq and George W. Bush's presidency is informative, provocative, frightening, compelling, funny, manipulative and, most of all, entertaining.

The film disappoints terribly, too. The directorial debut of such an imaginative and clever screenwriter was a highly anticipated event. His "Being John Malkovich" and "Eternal Sunshine of the Spotless Mind" are two of the most innovative and intriguing movies of the past decade. Synecdoche is one of the most maddening.

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.

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.

He lies with such conviction it's terrifying. And his galling hubris is all there for audiences to watch, absorb and puzzle over in the fascinating The Armstrong Lie.

Delpy is clearly a gifted writer, especially of comic dialogue. But she and Goldberg don't quite work as an engaging pair.

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.

Well-crafted, Tarantino-esque story.

Incorporates a range of genres -- black comedy, thriller, psychological drama -- and emerges more powerful for it.

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

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.

Briskly paced, suspenseful thriller.

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.

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.

While there are humorous and poignant moments, this angst-filled story of tender kisses, awkward dances, friends drifting apart, kindly English teachers, unrequited crushes and drug-addled partying has a nagging sense of deja vu.

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

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

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

The lack of propriety and solemnity is precisely what makes this comic farce so uproariously funny.

Intricately plotted without being contrived and exhilarating in its eccentricity.

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

These are hardly damsels, but the distress will be felt by audiences watching the collection of non sequiturs, twee remarks and tangential vignettes that is Damsels in Distress.

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

Powerfully disturbing.

It paints a complex picture of strained familial relations and a poignant look at the wounds inflicted on a sensitive soul by an unreliable parent.

Joyful Noise seems tailor-made for an audience of churchgoers and "Glee" devotees.

It's equally endearing as a sweetly funny romance between two likable oddballs and as a low-tech time-travel thriller, and has something profound to say about making the most of the present.

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.

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

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.

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.

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.

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.

Much of the action in Ice Age: Continental Drift takes place on an iceberg fashioned into a seagoing vessel. No one seems to be piloting the boat, which is an apt metaphor for the film.

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.

While the story is not as mythic or fanciful as it seeks to be, its predictability is trumped by the film's beauty.

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

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.

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

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

Like a padded "Saturday Night Live" sketch. What would have been very funny for 15 minutes, and pretty funny for 45, doesn't maintain the standard over the course of a feature-length film.

The villains are so extreme that they come off like sleazy caricatures. This accentuates the nuanced skill of the two lead performances, but it undercuts the overall effect of this well-constructed, if occasionally flat, pulp thriller.

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

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."

Spiced with plenty of humor and affection.

Director Joss Whedon knows how to make a wryly funny, action-packed extravaganza, as he proved with 2012's "The Avengers." So why did he overstuff the 2½-hour sequel?

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.

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

It's hampered by a listless quality and a one-note performance by porn-star-turned-actress Sasha Grey.

Not for the faint-hearted.

The plot is predictable and the dialogue often sticky sweet, but at least kids will identify with Stuart's desire for adventure and exploration.

It would appear that director Scott Kalvert never met a cliché he didn't like. No telegraphing is too obvious or simplistic for this movie.

Brannigan is terrific as Robbie, and the entire supporting cast is superb.

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

Men in movies are often just overgrown boys, and Seven Psychopaths is out to prove it - in the most twisted, hilarious way possible.

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

The Bling Ring is the cinematic equivalent of the vapid, superficial kids it features — all visual panache and minimal substance.

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.

Don't stop believing. Just avoid clichéd musicals that try to capture the anarchic spirit of rock with trite commercial re-treads.

Flaws are outweighed by Crash's intricate construction and intelligent.

Johansson gives one of her best performances as the bossy, gum-chewing Jersey girl determined to change Jon into her image of a romantic hero. Tony Danza and Glenne Headly are hilarious as Jon's parents. Gordon-Levitt proves he can act, write and direct with equal dexterity.

The juxtaposition between the fast-paced plays on the soccer field and the color-drenched, music-infused wedding party is a highlight of this captivating film.

It may appeal to the most rabid fans of tearjerk romances like "The Notebook," but it's a hard-to-swallow, maudlin tale.

A visually stunning, startlingly clever sleight of hand that will have audiences pondering well after the lights go up.

Spurlock comes off like a new and improved Everyman, familiar but smarter and funnier than the average Joe.

True to its title, Elegy is a spare, meditative and melancholy film. It is a deeply affecting and profoundly observed saga about love, art, beauty and, especially, mortality.

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

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.

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

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

The events of those days would have been better covered in greater depth in a miniseries, rather than a 90-minute movie.

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.

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

Watching this movie feels a bit like being trapped on a weekend holiday with an unpredictable and seriously unhappy group of people.

It's irreverently entertaining.

Huffman is a woman playing a man playing a woman, which is easily the year's most complicated turn. She does a fine, nuanced job in bringing to life a character that could have become a caricature.

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

When it's not stalled on silly, it falls into slog territory.

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

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.

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.

It's good to see Polley back on screen, after her successful turn behind the camera directing 2006's "Away From Her." She brings a measure of intelligence to the one-dimensional role.

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

Genial but largely predictable ensemble comedy.

Its message is unobjectionable, and there are a few laughs to be had, but too much of Elf is like Buddy's favorite meals: syrupy sweet.

The Way Back, with its epic story and spectacularly bleak setting, invites comparisons with "Laurence of Arabia" and "Dr. Zhivago." It's awash in vast, unforgiving terrain. So it got the setting right, but not necessarily the substance.

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.

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

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.

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

Ramona and Beezus are undeniably cute, and the movie that bears their names tries to inject some timeliness, but what many of us will walk away from this movie thinking about are the hot father figures.

It's about as uncomfortable as sitting through an interminable counseling session - involving two people you hardly know and don't much care about.

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

A little more than halfway in, Legend, based on the book by Richard Matheson (which also spawned 1971's Omega Man and 1964's TheLast Man on Earth), deteriorates into a schlocky zombie horror flick and loses its steam.

Too slight and pointless.

The best thing Life After Beth has going for it is what star Aubrey Plaza calls its "zom-com-rom-dram" premise. And the clever wordplay of its title.

Those drawn to unusual, unflinching feats of filmmaking and rare acting turns as well as sustained suspense will be captivated by Buried.

As subtle and shattering as its title.

What might have made Bless Me, Ultima more powerful would have been additional scenes with its mystical title character.

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

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 might be that Jarmusch (Broken Flowers) is experimenting with creating a pastiche of dreamlike sequences that audiences can interpret as they wish. Or it may be merely pretension and hubris that fuels such a stylized and insubstantial story.

This genre-busting movie has the appearance of a love story but morphs into a thriller, told cleverly in a nonlinear style. Think "Sliding Doors" crossed with "The Sixth Sense," with a little "Memento" thrown in.

Offers a bleak though thought-provoking take on relationships. The challenge for the viewer is in caring enough to become invested in characters who seem hellbent on hurting one another.

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

With its blend of taut action and profound revelations, The Debt is definitely worth an audience's investment.

Lie is openhearted, earnest and well-intentioned.

An enjoyable, rousing film, despite its formulaic quality.

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

Bening takes a complex, sometimes cloying character and makes her sympathetic - all the while pulling off a British accent with seeming ease. She single-handedly makes the movie worth seeing.

The highlight of Not Fade Away, a meandering and bittersweet coming-of-age story, is its killer '60s pop-rock soundtrack.

Has some strong acting. But largely because of its glacial pacing, the story ends up feeling too detached to move us as it should.

The TV Set skewers the television industry in a manner that occasionally feels familiar and at other times is humorously incisive.

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

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.

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.

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.

Even with the ponderous dialogue, it's hard not to have fun on this adventure, and it's good to see that Indy, though slightly weary, still has the goods.

The considerable talents of a strong supporting cast, which includes Chiwetel Ejiofor, Liev Schreiber and Andre Braugher, go untapped. The only distinguishing feature to this by-the-book thriller is Jolie, who gets pummeled as good as she pummels.

Barrels around in manic fashion much like Carrey does in most of his movies. He's meant to be a fool for love, but mostly he's just bonkers.

The dialogue is clichéd and laughable. It's a film far more concerned with style - architectural, vehicular and wardrobe-related - than substance.

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.

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

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

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.

The story of a woman dismissed by those around her who asserts herself through art testifies to the indomitable power of creativity. Why turn that compelling story into a predictable romance?

Dan in Real Life takes a pleasant premise and calls upon the talents of engaging actors and generally squanders both.

The concept is inspired, and the movie has some very funny moments. But about halfway through this long weekend, the frantic tale grows flimsy.

The film features too little about Berry (an engaging Mos Def), who crosses over to great fame.

Murphy's breathy, high voice as Kitten feels forced, but not nearly as much as the film's efforts to be both whimsical and weighty.

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

The story's appeal is lost in all the fights between the monsters and robots.

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.

Silly action sequences grow tedious and rarely blend with the wannabe madcap comedy.

What's missing in Morgan Spurlock's latest documentary is a key ingredient: Morgan Spurlock.

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.

With its ho-hum performances, muddled point of view, inert plot and pedestrian writing, all that's left to appreciate are the sumptuous costumes, elaborate hairstyles and rococo production design, which are not enough to sustain any movie, even one set in the gilded splendor of Versailles.

Worse, the story is so thin and clichéd, it seems as if a computer wrote the screenplay and a robot directed it.

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

Director Steve Buscemi is not to be faulted for his filmmaking or acting skills, but as co-writer he could have done better than the false-sounding dialogue.

As the film ultimately deviates from its course, the entire undertaking suffers.

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

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.

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

The thrilling stunts and hyperkinetic action scenes are the undisputed stars of this surprisingly entertaining film.

Moody, provocative and intellectually ambitious, Adoration is primed to elicit impassioned discussion among audiences.

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.

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."

Because we are left with so many questions, the film emerges as emotionally lacking and flat when it should be moving, or at least enlightening.

A charmingly sweet experience.

The cinematic equivalent of an elaborate and poetically constructed non sequitur.

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

Quartet is endearing, sometimes even irresistible.

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

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.

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.

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.

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

Che is a mass of contradictions, perhaps like the iconic revolutionary himself.

With moments of mind-bending creepiness, the film has potential, but eventually it devolves into merely a head-scratcher.

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

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.

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.

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

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.

Tamara Drewe is so light, it's almost pure froth.

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.

While the film is not as resonant as the novel, it is an honorable adaptation, capturing the essence of the bond between father and son.

First they marched, then they tap-danced. Now they ride the waves on souped-up boards. It really doesn't matter what stunts they try to pull off: Who can resist an animated mockumentary in the style of "This Is Spinal Tap" starring the black-and-white big birds of the moment?

A riveting and disturbing documentary that falls short of greatness by not providing enough insight into the characters. It is mostly intent on inciting a sense of outrage in the viewer, and it succeeds.

Though the movie rambles in the middle, it gets back on track when Nick and Norah have a sweet encounter in an unexpected place. The soundtrack is an excellent counterpoint to the film's quirky scenarios.

It's easily the most political of the three films. It also is the most absorbing and best in the series.

Part of the problem lies in the casting imbalance: Ferrell is so much more adept at this comedy style than Heder.

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.

Intelligent and engrossing saga.

The laughs -- mostly crude, profane and drug-addled -- are almost non-stop.

A film in which precocious kids say things real kids never would, and larcenous drunks come off as adorable.

Harris is a major asset in a film that is entertaining but somewhat unfocused and occasionally badly cast.

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.

Blood Diamond is a gem in a season with lots of worthy movies.

Freedom Writers is an earnest, well-meaning attempt at inspirational teen drama. It has some moving scenes and honest observations, based on a school in Long Beach, Calif., but the movie sinks under the weight of formula and stereotypes.

If you'd like to know about the famously eccentric psyche of surrealist artist Salvador Dali, whom Pattinson plays, you're better off consulting written biographies. Little Ashes does nothing to illuminate the iconic Spanish artist.

Nothing about this rote exercise feels remotely fresh. It's a re-tread of the 2009 original, sans the inspired lunacy.

Myers' sense of humor is interspersed throughout the engaging film, which consists of a host of wild stories, as well as vivid archival footage, talking heads and cleverly made re-enactments.

As involving as the story is with its impressive ensemble cast, “Norman” is above all a showcase for Gere’s substantial talents.

Despite questionable casting, wooden acting, laughable dialogue and truly awful makeup, nothing is likely to stop young girls from swarming to this kitschy adaptation of Stephenie Meyer's popular novel.

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

For those who don't equate sexual appetite with the intricacies of fly fishing, Nymphomaniac: Vol. 1 is more tiresome than titillating.

The voice talent behind Robots reads like a who's who of comic actors...But too much reliance is placed on their star power and not enough on an interesting and fresh idea.

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.

The computer-generated wolves have more personality than any of the dull characters in The Grey.

There is a blessed dearth of dialogue, but much of it is unintentionally hilarious.

Willis' performance mystifies, while Mos Def's mesmerizes.

Out of Time seems out of another time and place. Remember "Presumed Innocent?"

For a thriller of its kind, it's a lively and slick summer escape.

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.

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

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

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.

A raw and powerful suspense thriller.

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

While just a jot less fun than its predecessor, Pitch Perfect 2 is a worthy sequel in tone, even if the story feels padded with a few too many montages.

An endearing, occasionally sentimental story told with depth and substance.

How She Move has two key assets: powerful dance sequences and an emphasis on education.

Though energetic, daring and gorgeous to behold, this re-imagining of Tolstoy's classic tale lacks a viable sense of passion, holding the characters at arm's length and glossing over social issues.

A warm and pleasantly diverting tale.

Cheri, like the character, is an entertaining bauble without much on its mind.

When it's good, Friends With Benefits is quite good - especially as it skewers rom-com clichés.

This supernatural yarn is thoroughly engrossing until it loses its way about three-quarters in. It's as if the filmmakers didn't know how to resolve the mayhem, opting for silly over diabolical.

Notable for the easy chemistry of its ensemble cast.

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.