Elizabeth Weitzman

Credit goes to director Sam Taylor-Johnson and her screenwriter, Kelly Marcel, who've stripped the first book of its biggest flaws, while still honoring its essence. And lead Dakota Johnson makes for an ideal heroine, though — as doubters feared — her chemistry with costar Jamie Dornan doesn't always sizzle.

Overly familiar but endearing nonetheless, this coming-of-age indie from Alexis Dos Santos is most likely to appeal to those who recognize themselves in the story's lost heroes.

The script, co-written by Bouchareb, is regrettably simplistic. But Blethyn and Kouyaté inhabit and expand the film's earnestly instructive intentions, leaving us with a deeply-felt experience rather than a naively-sketched lesson.

Whether accurate or not, it's certainly entertaining to watch regal intrigues through the eyes of lady-in-waiting Sidonie (Léa Seydoux). That Jacquot handles the action so lightly is a credit, considering that it takes place during some of the tensest moments of the French Revolution.

Though the film ultimately falls short of its considerable promise, there's more than enough here to keep thoughtful moviegoers - of any age - intrigued.

The claymation visuals are charming, and an enthusiastic, if somewhat underused, cast works hard to sell the better jokes (though the funniest gag is a silent monkey butler).

As vanity projects go, this one’s unusually well-made — as any portrait of an iconic stylist ought to be.

It’s a pleasure to see Russo back on screen (she’s married to Gilroy). But Nina’s eager complicity is far too easy and every social critique flashes as bright as the neon guiding Lou around back-alley L.A.

Crystal and Midler are such confident pros that their crack timing elevates even substandard material.

Levine offers a mostly sharp takedown of middle-class hipsterdom, and he's terrific as a guy whose easygoing demeanor hides continuing growing pains.

Every aspiring performer will appreciate Gregori Viens' unassuming comedy, which cheerfully skewers industry pretensions and media-fueled trends.

Oddly, Craig Brewer has softened the tone for his remake. But nearly everything else remains intact, and -- surprisingly -- that's just enough to win us over.

There's not much to it, but Austin Chick's hyper-focused indie does serve as a nicely assured showcase for lead Josh Hartnett.

McMullin’s feel for the setting greatly enhances the story, as does evocative camerawork from Andrew Ellmaker, making his own impressive feature debut. But McMullin’s inexperience as both a writer and director does sometimes hold him back.

A solidly entertaining summer movie is always welcome, even if it can't quite claim to be out of this world.

The truth is, the mystery pales next to the best "X-Files" plots. But fans will appreciate sly references to past episodes, an unexpected appearance from an old friend and the still-poignant bond our heroes share.

Fans of the book may resist the efforts of director Tran Anh Hung ("The Scent of Green Papaya"), simply because it would be impossible to capture the essence of Murakami's prose. But this exquisitely filmed, often haunting tragedy is worth taking on its own terms.

The actual Taqwacore movement is distilled in blatantly simplistic fashion, but Zahra does capture the novel's adolescent excitement, in which a new generation rediscovers rebellion all over again.

Korean director Im Sang-soo can't improve on Kim Ki-young's 1960 original, a jarring and operatic cult favorite. Still, he does tweak the themes in intriguing fashion.

It's all compelling, in the way reading trashy gossip usually is. But without any new perspectives, what's the point?

The introduction isn't as smooth as it could be, but eventually everyone settles into the right groove.

We see brief, graphic shots of naked actors performing sexual acts. But it’s the conversations about what those depictions represent that truly provoke.

Writer/director Patric Chiha brings a knowledgeable weariness to his feature debut, as his story heads toward an end that feels familiar in all the right ways.

There is indeed much beauty on display, from the icy Taiga landscape to the age-old trapping techniques passed on through generations. But this does feel like a lesser Herzog project (he joined on after it was shot). For viewers who don't share his awe, a short film probably would have sufficed.

Chow’s movies are always as sweet as they are silly, a combination he once again balances — alongside cool effects — with typically deft irreverence.

It's a slow time at the cineplex, and the sinister scares served up by Brad Anderson are just spooky enough to freak out undemanding horror fans.

You'll want to see Eytan Fox's acclaimed 2002 drama "Yossi & Jagger" before watching this intimate, often-moving sequel.

Burrell doesn’t quite capture the wry deadpan of the original, but then, neither does the movie. That’s okay.