Elizabeth Weitzman

The performances are absurdly broad, and each story line is more outlandish than the last. But De Felitta’s approach is so easygoing, and the waterside setting so irresistibly charming, you’re bound to walk out in a great mood. How many movies can do that for you?

It's Theron who owns this film, imbuing her deliciously depraved Queen with furious pain and deep-seated fear.

Pray unfolds the family's story with patience and skill, making it both a compliment and a complaint to say that he leaves us wanting to know much more.

The title's accurate; there are lots of minor but magical moments, like witnessing the accidental invention of tie-dye.

If you embrace the overkill, you’ll enjoy it. But if extravagance isn’t your thing, move swiftly on to something lighter and more digestible.

Though it remains a little too enigmatic, Marek Najbrt's Holocaust drama is atmospheric enough to keep us edgy on its heroine's behalf.

You'll need a taste for nostalgia to really appreciate Fright Night, which knowingly blends Eighties cheese with Nineties snark - a combination that works better than it sounds.

How you respond to Pitch Perfect will depend primarily on how you feel about its obvious inspirations: "Glee," "Bring It On" and the food-poisoning scene from "Bridesmaids."

Most impressive: the striking vibrancy of the animation. This is the rare movie that earns the extra cost of 3-D glasses.

There's still a lot to like here, but ultimately the movie reflects its hapless hero a little too well. While we're constantly rooting for it to succeed, the finish line seems forever out of reach.

Vanessa Lapa constructed this straightforward biopic about SS leader Heinrich Himmler from a recently found trove of his personal letters and photographs. Her streamlined approach seems appropriate for the subject, which boils down to the banality of evil.

Kids, of course, are unlikely to get the religious allusions. All they'll see is a decent family adventure, perfectly suited to a cold Saturday morning -- and likely to be forgotten by Sunday.

Writer/director/producer Beth Elise Hawk has approached her first documentary as an unabashed passion project. Her enthusiasm, and general sense of joy, shine through clearly from start to finish. Though she doesn’t dig deep enough to get us much past the elevator pitch, that pitch is pretty appealing.

Like his 2007 political drama, "Lions for Lambs," Robert Redford's fictionalized chronicle of Mary Surratt's 1865 trial is high-minded and slow-moving. Some may chafe at his unsubtle sermonizing, but strong central performances will reward the patient.

As with so many message movies, this one trades ­nuance for naked outrage. The filmmakers'heartfelt intent is admirable, but right now they’re competing with a more compellingly told reality.

The mystery is pretty low-key and the resolution somewhat disappointing. But Amalric is mesmerizing and the film’s taut, chilly tone leaves us unnerved.

Though the Tickells' unabashedly partial, first-person approach is a liability, they present so much damning evidence that their case is - one hopes - impossible to ignore.

The entire cast is solid, but most notable are Greer and Silverman, who make the most of unexpectedly serious roles.

Guaranteed to charm anyone who’s out of school and already bored.

The primary response he's (Kitano) seeking seems best expressed by one typically ill-fated player: "What the hell … ?"

Hoffman has a nice eye for detail, painting an empathetic portrait of lost souls that recalls 1955's still-powerful romance "Marty."

Both in name and spirit, The A-Team drags the Eighties into the 21st century, and you might be surprised to find -- if only briefly -- that you've missed them just a little.

Director Bruce Hendricks makes little use of the 3D technology, though the gimmick does distract from the fact that we learn nothing new about the guys. It would have been interesting to hear something of their history, especially given their much-discussed Evangelical background.

Weitz takes a looser approach than the series’ last director, Catherine Hardwicke, did. He has a better sense of humor, too.

In Hollywood, all is forgiven if you can deliver the goods. On-screen, at least, there’s little difference between this Gibson and the one we remember from earlier films like “Ransom” and “Payback.”

Anyone with a fondness for the midcentury cartoons and films that inspired this scrappy comedy will appreciate the latest trip to the titular British boarding school.

Whether you call Anton Corbijn’s adaptation of John le Carré’s 2008 novel “deliberately paced” or “so slow I can feel my hair growing,” there’s no denying the power behind the central performance.

Wahlberg is surprisingly committed to the ridiculousness.

While softening Geisel's darker themes, they still meld a valuable message into catchy songs, bright images (nicely done in 3D) and funny characters.

The trailer for Like Crazy is one of the best of the year, and I couldn't wait to see the movie that inspired it. Turns out, the film itself plays like one long trailer, a collection of moments and montages that hint at, but never quite achieve, a fully realized whole.

A good-natured and highly enjoyable goof.

There's an unexpected appeal to John Gray's modest drama, emanating from its center.

The parts are greater than the whole, but there’s a lot to like here, including the easy interplay between the leads.

Despite some early whispers of awards potential, The Debt is nothing more than a gritty thriller with a highbrow pedigree.

Waititi retains his quirky style, but it feels meaningful here, a valid effort to explore the difficulties in coming of age during tough times.

Many witnesses offer emotional recollections of the ensuing riots, but equally powerful moments come courtesy of old footage, in which anti-gay "experts" expound with a confident ignorance that sounds chillingly familiar even today.

The movie can’t help feeling like a vanity affair — a shot of novocaine, instead of a letter bomb.

Since Alfred Hitchcock set the standard for strangers-on-a-train thrillers, Anderson has a lot to live up to. He falls short of creating a new classic, but he does manage to keep us on edge for most of the movie.

Who knew? Turns out, Jean-Claude Van Damme is a funny guy, and a pretty good actor, too. Fans may already be aware of this, but JCVD is likely to introduce a whole new Van Damme to everybody else.

Shane Acker's underwritten but beautifully animated debut is both an ode to technology and a warning against it. Perhaps unintentionally, the film itself echoes those themes.

Directors Maiken Baird and Michelle Major may have begun this documentary with the intention of profiling two of the most successful siblings in sports. But any reality TV viewer knows that bad behavior is always more compelling than likability. So this movie’s title becomes, perhaps to the filmmakers’ own surprise, a little misleading.

Cruise's tightly controlled performance holds our attention all the way through to the tense finale. Still, McQuarrie's script never gets at the heart of a character who's already inspired such a passionate fan base.

A fun project that doesn't quite reach its potential, Josh Koury's doc is still worthwhile for anyone who can't wait until 2009 to see Harry Potter back on the big screen.

The parts are ultimately greater than the whole, but Adam Reid's offbeat debut suggests a talent worth watching.

Because (Vilanch) is such a character, the movie ends up being a lot of fun.

The Lego Ninjago Movie does fit into the decidedly silly, self-aware sphere of the Lego movie franchise. Comparisons won’t help it any, though: unlike the two previous entries, this one feels a little worn around the edges.

“Becoming Cousteau” could have used a little more focus on his earthly experiences.

This version is never rough, nor rude, nor boisterous, but for first-timers, perhaps wisely and slow is the way to go. There will be time enough for them to discover cinema’s superior adaptations anon.

There is something infectious about the old-fashioned innocence of Mark Waters' comedy.

"I hate this stinkin' war," Neil Young announces in this chronicle of CSNY's "Freedom of Speech Tour," and the rest of the movie is just as unapologetically blunt.

Though it can't quite transcend its filmmaker's earnest intentions, this solemn history lesson offers several powerful moments.

For any adult feeling overwhelmed by bad news and dark times, your antidote is right here.

The movie ends with a setup for another sequel, which will undoubtedly be embraced by fans. Let’s just hope we don’t have to wait another 14 years to see it.

Creating a hypnotically digressive travelogue, Herzog wanders from soul to soul, asking deceptively mild questions to potent effect.

While the Tony-winning play based on the same book creates unexpected impact through strikingly inventive puppetry, Spielberg is at a disadvantage in employing such a literal approach. Not even animals as beautiful as these can substitute for human ingenuity and imagination.

There are no villains here, no attempts to sway opinions or even stake out political ground. Some will find that a disappointment. But the truth is that this effort is both more evenhanded than most dramas with similar themes, and more open-hearted.

Cute, mostly well-mannered and just a bit off-center.

Rock of Ages is an experience that will alternately leave you embarrassed and amused.

The participants make a strong case, although the most emotionally powerful moments involve the workers themselves.

True chemistry is hard to find. And by some stroke of movie magic - or sheer skill - Wahlberg and the bear make a pretty great team.

These are the best moments, when Stewart and a wisely understated Gugino are free to enact their own wistful, beautifully intuitive pas de deux.

It’s still compelling entertainment, as any biopic about Paul Raymond ought to be. Though nearly unknown in the U.S., Raymond was a famous figure in his native Britain, a flashy combination of Donald Trump and Hugh Hefner.

Salles has made an admirable effort, which - while no roman candle - can be appreciated for its honest ambitions.

The film is best suited for dance buffs excited by an unexpected congregation of artistic pioneers.

The script is compelling, the direction confident, the production values professional. But it does not, in the end, feel real.

While the filmmakers never quite make the case that their chosen melody deserves its own full-length film, they do ensure that you’ll leave the theater happily humming it.

Not all of the movie works - in fact, huge portions don't - but there are enough striking moments to make a lasting impact. How ironic: In this fairy-tale of arrested development, Korine has created his most mature movie yet.

The movie’s strong sense of empathy, enhanced by several noteworthy performances, ought to engage most viewers.

Directed tastefully by Ralph Fiennes, The Invisible Woman is very lovely to look at. But it lives up to its own title too well.

Helstein doesn't have to work so hard to remind us of her subject's gravity; the stories chronicled are chilling enough without embellishment.

No one looks at the world quite like Kaurismäki, and his deadpan sentimentality is worth discovery. This is a good place to start.

Stonehearst Asylum, Brad Anderson’s adaptation of an Edgar Allan Poe story, is undeniably preposterous. But if you accept the grandly Gothic insanity here, there’s a lot of fun to be had.

The movie works best as a calling card for young Haney-Jardine, whom we can surely expect to see more of on the festival circuit.

The entire cast, in fact, seems to be having fun, with Affleck and Koechner cheerfully stealing each one of their scenes. And the jokes come often enough to leave us consistently amused and occasionally delighted.

Director Kat Coiro - who co-wrote with Ritter - spices up the formula just enough to keep us watching, while Bosworth adds versatile edge to the BFF banter.

Some of this wallowing goes on too long, risking our alienation from characters who are difficult to like. What saves the film is the fact that they are always easy to recognize, both as self-centered teenagers and tentatively maturing young adults.

A gently appealing and sincere romance.

A sassy script and good-natured voice work from Benedict Cumberbatch and John Malkovich should keep kids and grownups entertained over the holidays.

There's nothing exceptional about Jane Campion's historical biography, but it's a sufficiently lovely tale to suit romantics with a taste for intimate period dramas.

Hampered by both an unimaginative script and ordinary direction, but it’s a serious Oscar contender. Why? Because Julianne Moore is in the lead.

The film is spectacularly constructed, from intimate closeups to dizzying chase scenes. But as is often the case with this format, the motion-capture animation feels weirdly lifeless.

Rafferty keeps the structure so blandly standard, the title is nearly the most intriguing element of the whole film.

Surprisingly conventional by director Richard Linklater's standards, this pleasant, low-key dramedy is most memorable for the discovery of co-star Christian McKay.

Grubin is an experienced documentarian, and he plays to his strengths here. He certainly makes the most of the Manhattan setting, whether his characters are practicing at Juilliard or playing for cash in the Times Square subway station.

Woven amid the glib one-liners and contrived scenarios is an unexpected, and undeniably touching, sense of heart.

The real romance here is between the filmmakers and the cultural moment they hope to document. From that perspective, it's a welcome - if not quite award-worthy - valentine.

There are enough droll moments to spark cult status, and McBride's commitment is impressive.

If "Up" is the animated equivalent of an ice cream sundae, Ice Age: Dawn of the Dinosaurs is the Popsicle: Neither as rich nor as memorable, but more than welcome on a long, hot summer day.

Ultimately, though, director Morten Tyldum’s conventional approach doesn’t do full justice to his tragically unconventional hero.

Overlong and dramatically thin.

"Night" never quite coalesces into the forceful drama it hopes to be.

It doesn't dip much below the surface, but Tamra Davis' biography of her friend Jean-Michel Basquiat, who died in 1988, offers an informative introduction to one of contemporary art's most complex figures.

While Cera is adorable, Yi’s faux ­naiveté is overplayed and her philosophical musings are underwhelming. But you won’t soon forget the real-life couples she interviews.

García Bernal's irrepressible charm provides a burst of welcome energy with each brief appearance.

The screenplay, adapted from Glendon Swarthout’s 1988 novel, lacks its heroine’s rigid spine. The story buckles in the latter half. As a result, we wind up watching two very different movies. The first forges ahead with Cuddy’s fiery righteousness. The second takes a much safer route, in which her pioneering spirit is sorely missed.

Song has, undeniably, done a beautiful job composing this visually absorbing film.

There are no surprises among the characters — depressed mom (Amy Jo Johnson), controlling aunt (Cynthia Stevenson), new boyfriend (Tatanka Means) — but the cast is strong enough to build on familiar elements.

While plenty of talking heads turn up to offer breathless praise, it's no surprise that the preeminent words of wisdom are, thanks to copious archival footage, Vreeland's own.

Despite the packed plot adapted by Polanski and Robert Harris from Harris' novel -- the pacing feels oddly slack.

The script unfurls too many obvious setups, but director Eric Valette is smart enough to rely on his most authentic effect — Dupontel’s natural intensity.

The wisecracking Chan and the stoic Li play off their on-screen images with good humor, and if they don't have the agility they once did, it's still a joy to watch them make the most of Yuen Woo-ping's impressive choreography.

The cast, including Orlando Bloom and Evangeline Lilly as warrior elves, is also excellent (though we don’t get even a glimpse of Andy Serkis’ Gollum). And individually, each escapade does hold its own thrills.

Mohan should have made a little more effort for us. Another pass at the screenplay probably would have done it. But one gets the sense he's already moved on to the next thing.

Though "Woman" never rises above its status as a traditional genre thriller, that's perfectly fine. It was made with intelligence and commitment, and it achieves its goal: to keep us looking over our shoulders long after we've left.

Provides just enough smart, silly fun for families desperately seeking an easy (and air-conditioned) escape from hazy August humidity.

The notable lack of chemistry between Cruz and Homar is a crucial absence in a film about all-consuming romance. And though each part is great fun to watch, the whole feels unfinished.

Weisz's meticulously crafted turn is certainly touching, but it lacks the immediacy of, say, Celia Johnson's in 1945's "Brief Encounter."

The movie's intensity is given crucial depth via Moura's somber and unshowy performance.

He's (Clooney) got the makings of a great movie here: one that represents our politically surreal times with keen insight and appropriate cynicism. It's only when he veers off the path, suddenly worried he'll lose our attention, that he falters.

Director Lisa Albright has less success balancing the tones of two eras: the movie is more successful when replicating matter-of-fact '70s grit than the independent miserabilism of the '90s.

The story is never less than gripping, but the most important questions disappear into that unbearably bleak abyss.

Such a unique personality really deserves a more interesting tribute, but it's so nice to see this one-of-a-kind nonagenarian still going strong.

The cumulative power of so many great minds envisioning our potential self-destruction is undeniable. You may start planning your move off the grid before the movie even ends.

The weight of history is a heavy burden for one film to carry, especially when freighted still further by contemporary parallels. Ultimately, Leyna is as much a symbol as a fully-drawn character, one young girl representing multitudes. Nevertheless, those who find their way to her essential story will come away not only enlightened, but undeniably touched.

The subject matter calls for ruthless observation, but his candy-colored pop vision has more in common with “Glee” than, say, “Heathers.” He’s aiming for a stinging WTF, but winds up with a fairly mild LOL.

Few of the parts harmonize ­properly, leaving us with provocative fragments rather than an electrifying whole.

It’s Ross, however, who really makes a lasting impact. Someone should snap her up for a series — and soon.

It's disappointing when a big-screen romance can't match up to the one in your imagination, at any age.

Yes, Friendship does feel in many ways like an expanded I Think You Should Leave sketch built on bizarro absurdism and a waterfall of exacerbating circumstances. To his credit, though, DeYoung – a TV director making his feature debut – does take advantage of the opportunity in some satisfying ways.

Peake provides the solid center for a movie that would otherwise melt into indie formula. The quirky supporting characters, slow pacing and predictable plotting intermittently threaten to overwhelm such a modest story. But then Ted secretly turns his camera back toward Vanetia and, like him, we’re smitten again.

Soderbergh does his best with limited time, but his biggest success may be in pushing viewers home, to watch Gray's films in full.

This is, in its way, a horror movie -- not least because it will burrow into your own brain, as a reminder of all the ways the modern world is making you crazy, too.

In this visually and emotionally severe landscape, Reichardt has created the sort of film that will inspire grad students to write passionate thesis papers - and casual moviegoers to feel as lost as her would-be settlers.

Redbelt will fascinate those who share David Mamet's interest in mixed martial arts. But its hold may be weaker on those who don't.

Lerman is suited to the title role in that he plays Charlie as wide-eyed and rather unmemorable. Watson doesn't seem entirely relaxed as an American teen, though she does serve as a lovely first crush. Among the adults making brief but notable appearances is Paul Rudd, as a sympathetic English teacher.

The unavoidable obstacle is that the perpetually elegant Knightley does not belong. Not at a prom, not furtively partying in a parent’s basement and not, alas, in this movie.

You don't even have to be familiar with the first book in Rick Riordan's popular fantasy series to enjoy Chris Columbus' energetic adaptation.

The flaws are more than balanced out by the risks the earnest Kelly encourages his excellent cast to take.

Somehow, though, director Huck Botko and writer Jeff Tetreault have turned their dopey tribute to testosterone into a surprisingly amusing rom-com.

Though we leave Earth feeling overwhelmed, we’re also more aware than ever that he’s only shown us the tiniest fraction of our impact.

In a small theater, it’s easy to feel like you’re a part of the romance unfolding before you. But in the grander scheme of an impersonal cineplex, it’s an uphill climb.

There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he’s ready to commit fully to his own vision, there’s no end to what he might accomplish.

Narrator Morgan Freeman manages to be both soothing and somber, so it's not until the credits roll that we realize how much more we want to know.

The movie is not up to the company’s highest standards, but it’s certainly better than most other kid flicks you’ll see this year.

There’s a lot of heart in his creativity. But this particular effort, delightful as it often is, lacks some essential soul.

The only thing that's missing, in fact, is a soul. On the other hand, there's a good chance you'll get so caught up in what they're doing, you won't even notice how stiff and inhuman the actors appear.

Danhier backs all the memories with a collection of great clips, and it's extra fun to spot familiar faces (hi, Steve Buscemi!).

Provocatively intentioned, The Reader is a movie worth seeing - the kind of film you'll think about for days afterward. But when all is said and done, you're likely to wonder why the impact wasn't greater still.

Far surpasses original.

This full, sweet comedy, adapted by star Aasif Mandvi from an Off-Broadway play, has a city flavor and a wry take on familial obligations.

Director Salim Akil has found actors skillful enough to enhance Elizabeth Hunter and Arlene Gibbs' conventional screenplay.

The plotlines are clichéd and the score overbearing, but uniformly strong turns go a long way towards shaping the lush, nostalgic atmosphere. Don't forget to bring tissues.

There's nothing about Josh Crook's cop saga that will strike you as new, but he and his talented lead do build an epic feel into this gritty tale of corruption.

The kids here do come across as genuine people, struggling with issues everyone can understand.

Director Niels Arden Oplev keeps the action relatively tight. But he revels in the story’s sadism to an uncomfortable degree, especially in a needlessly vile rape scene. Two more sequels are coming. Here’s hoping there’s just a little less hate in each.

Passionate and ambitious, John Walter's chronicle of a Public Theater production is too scattered for broad appeal. But those who connect with his themes will find themselves quickly drawn in.

The movie plays things relatively straight, acknowledging clichés without the winking irony in which modern homages usually indulge. As such, it's giddy fun - a well-made genre picture that sends up its influences even as it clearly reveres them.

The one person who does appreciate Emilia is Portman - which is what saves The Other Woman from the easy judgment toward which it so often appears to be edging.

The movie is at its best when the filmmakers focus their ire on Hollywood itself — the hypocrisies, the empty promises, the rejections and belittlements that are built right into the system.

There is so much talent behind and within Nia DaCosta’s provocative adaptation of Henrik Ibsen’s Hedda Gabler that it’s easy to embrace as an inventive artistic experiment.

Schwartzman and Pryce are compelling in their self-regard. But it’s no coincidence that the lovely, empathetic Moss is who we root for.

While "FWK" never challenges us, it does remain consistently engaging.

OK, haters: Here’s the movie meant to silence your complaints about Kristen Stewart’s acting range. And it might, if you can sit through all of it.

Most of the performances are as unpolished as they are heartfelt, which is both endearing and distracting.

Feels more respectful than real.

The actors - including Aidan Quinn as Lena's lover - work hard to balance a mood that fluctuates between stillness and stagnancy.

The biggest flaw is the casting: only Shannyn Sossamon delivers a performance of even modest depth.

It's as if the TV character Dawson directed "Heathers," or another one, Parker Lewis, remade "Scream." Who'd have guessed that would be a can't-lose idea?

Byrkit and his actors successfully build a sense of tension, and then dread, from what appears to be an extremely limited budget. Indeed, the movie was shot primarily in his own living room.

Every generation deserves its ultimate high school romance, and Nick & Norah's Infinite Playlist clearly aims to take the slot currently open. Despite a valiant attempt, though, it doesn't quite make the grade.

Don't let the generic title fool you: David John Swajeski's documentary tells a story you're unlikely to forget.

Incredibly enough, it seems many people still believe that bullying is just a matter of "kids being kids." Until that attitude changes, this film should be considered required viewing for every parent, teacher and teenager in America.

Instead of falling into exaggerated exploitation, Coppola always stays true to the essence of adolescence — that sense of waiting, reacting and then waiting some more.

Loyal fans of the Sondheim original may feel a bit let down themselves. There’s much to love here. But working with original “Woods” writer and Sondheim collaborator James Lapine, Marshall tones down the crucial dark shading in some places and has trouble with pacing in others.

Intermittently compelling biography.

Bieber's world - at least as edited for mass consumption - is a refreshingly wholesome universe, where a young superstar is good-natured and grateful, says grace before every meal, and spends all his free time on the tour bus tweeting. He also likes to hug, a lot.

Even if we can't live his cowboy life, Buck Brannaman's world is well worth visiting.

Breillat, seemingly inspired as much by C.S. Lewis and Hans Christian Andersen as by original author Charles Perrault, doesn't really make the most of her subversive premise.

Fortunately, the cast — featuring Allison Janney as Bianca’s scattered mom and Ken Jeong as her sympathetic mentor — is savvy and silly. Really, though, most of the credit goes to Whitman, who stands in, and stands up, for the DUFF in all of us.

If you’re willing to take the movie for what it really is — a fairly generic caper inspired by, rather than based on, actual events — you’ll find just enough to appreciate.

The chemistry between the leads is more cozy than sexy, but the biggest issue is Latifah's noticeable - and admirable - discomfort with the rom-com clichés found throughout Michael Elliot's screenplay.

A darkly comic underachiever that manages to charm almost in spite of itself, Ruben Fleischer's 30 Minutes or Less is probably best watched as it was made: without much evident effort. In other words, wait until it hits DVD, order a pizza and Netflix it.

Coogan and Brydon make terrific companions for us partially because, at least as they appear onscreen, they’re so amusingly incompatible themselves.

So we have a compelling storyline, and characters we genuinely care about. But since Akhavan doesn’t drill deeply enough, the movie ends at what should be its midpoint. And her lovely final shot winds up feeling as avoidant as it is poignant.

Most important, he’s got Vaughn, whose mix of silliness and sincerity is an ideal anchor for the broad premise. Vaughn is one of those actors who tends to autopilot his way through too many mediocre projects. When he goes all in, though, it’s impossible to resist his charm.

Knightley and Canet make a far more compelling pair. As they wander through the city after hours, doing nothing more than talking, they generate the kind of romantic heat that's all too rare onscreen.

Though Bowser uses old footage when possible, the absence of his subject -- who died tragically in 1976 -- is keenly felt.

So maybe this movie should serve as his introduction to a larger series, in which each artist gets the individual portrait Neville so clearly wants them all to have.

Oddly, there isn't as much originality as you'd expect from a global search for meaning.

Though we see the same man throughout the bumpy tour captured here -- always calm, steady, faithful -- it's bound to prove an enlightening portrait for those who know him only as the guy who once worked with Peter Gabriel.

As fans of "Freaks and Geeks" know, Segel is a master in the art of humiliation, and it's been a long time since we've seen anyone debase himself so thoroughly for our amusement.

We never learn why most of his subjects remain loyal to a faith that so explicitly rejects them.

The script is merely serviceable and too reminiscent of similar fantasy tales. But kids will instantly relate to the gentle Soren, while watching wide-eyed as he faces each challenge.

Neville is deeply respectful — “Roadrunner” is an unabashed tribute to its subject — but the filmmaker doesn’t occlude the chef’s dark side.

The beginning is awkwardly earnest, but the play matures considerably while retaining its youthful energy and enthusiasm

Despite their efforts to address most sides of this complex story, each new interview leaves us wanting to know even more. Of course, that's the sign of a compelling film - but in this case, not an altogether satisfying one.

By the end, Holdridge has captured the bittersweet complexities of romance with a wisdom that proves surprisingly seductive.

Feels more earnest than real. Still, its sincerity is admirable, and often touching.

The most adorably filthy movie you may ever see.

The magic simply isn't there.

A far cry from 2010's shallow rom-com of the same name, this Leap Year is a haunting portrait of loneliness in its starkest state.

As the most comfortable performer among this inexperienced cast, Walken brings a crucial maturity. In contrast, Young seems to have been hired primarily for his uncanny falsetto.

He may be a first-time feature ­director, but music video master Benny Boom clearly knows how to pull a midlevel movie ­together.

The real stars of this film are the same ones who stole every show -- women who once boasted names like Tempest Storm, Candy Cotton and Lady Midnight. Their stories are alternately tragic and inspiring, and often very funny.

If this sounds like a typical date movie, worry not. It's very much an Apatow production-though the crasser additions, like his already-notorious food poisoning scene, feel painfully forced.

Zoe Saldana makes being an action hero look so easy in Colombiana, you have to wonder why more actresses don't try it.

Just like the movies it parodies, this one feels over long before it's actually done.

Kline has a ball, while Dano turns in a pitch-perfect performance. He never mocks his character's desires, or undersells his fears.

It’s cheesy fun for sure, but fun nonetheless.

Charlie Minn seems intent on educating the world about the crisis of violence occurring in Mexico. While his new film feels too much like a retread of "8 Murders a Day," which he released last year, it's still urgent enough to warrant a view.

Director Jennifer Kroot’s good-natured biography is so appealing that even non-Trekkies may be convinced we needed a full-length documentary about the man who was Sulu.

It's hard to ignore the fact that very little in the movie feels true - no one clicks as a couple, and there are carefully contrived coincidences around every corner.

The performances save the movie from a treacly inevitability.

Though Argento and Aattou lack the searing chemistry needed, the social politics are consistently intriguing, and everything - not to mention everyone -looks absolutely stunning.

If you wait for the grift, you’ll only be disappointed. There are no jolting twists or shocking reveals. The reward lies mostly in accepting each character on his or her terms.

There's no denying that paparazzo Ron Galella is a New York character. What's at issue in Leon Gast's entertaining documentary is whether he's an artist or a creep.

It's Franco's straight-faced turn that grounds this proudly lowbrow caper from his "Pineapple Express" collaborators, David Gordon Green and Danny McBride.

There's nothing in director Ryan Piers Williams' script that elevates this film above others with similar themes. But his heartfelt approach can be seen in the committed cast -- led by O'Nan but also including ­Valderrama, whose quietly ­authentic work is a nice surprise.

We could have lived without another ’90s-influenced exercise in gritty wonderment. But thanks to a perfectly-matched lead, Shia LaBeouf, the movie makes enough impact to justify its existence.

All those who have to drag themselves to work every morning will surely find some comfort in Seth Gordon's cheerfully outrageous revenge comedy, Horrible Bosses.

How much control are you willing to cede when you see a movie? Because director Radu Mihaileanu is fiercely determined to manipulate your every emotion.

A Dangerous Method concerns itself primarily with sex, but what's most shocking is how conservative it turns out to be.

"This is a woman's trip," it is announced in Tyler Perry's For Colored Girls, and how you respond to those words will likely determine how you respond to the film itself.

Hartley fans will certainly see his influence, especially in dialogue and movement that are so precise as to feel choreographed.

Though Mann and Perry are game, it's Efron who carries the movie.

If you can look past the annoying quirks, you'll probably have a good time. As Steve says, sometimes, it pays to compromise.

Sokolinski, a French pop singer better known at home as Soko, is fully in tune with Winocour’s sharp vision. Her intense, almost accusatory turn feels like the opposing image of Keira Knightley’s intellectual neurosis in 2011’s similarly themed “A Dangerous Method.” Where that film found some lightness within the dark, this one drags an historic darkness into the light.

There’s a potentially fascinating series waiting to be mined here, even if it is buried beneath bland visuals and a pedestrian script on the big-screen.

Though Nair leaves us guessing as to Changez’s motivations, she also uses a pretty heavy hand in laying out the movie’s themes. The changes between the novel and the screenplay are equally unsubtle, especially in regards to the ill-conceived romance.

While their story is feather-light, Khoury and his actors have each type down perfectly. Worth seeing with friends, but you won't want to make a date night out of it.

Though based in truth, Mark Jacobson's script is built on age-old clichés. And nobody knows how to end the film, so it just fizzles out.

To outsiders, in fact, Breaking Dawn: Part I will probably look like the weirdest, most expensive chastity commercial ever created. But Meyer's massive fan base will see something else entirely. They'll see a faithful, well-made depiction of the most eventful book in a beloved series. They'll see the actors they adore embodying characters they cherish.

Queen and Country features characters from the earlier movie. And it’s good. But “Hope and Glory” it is not.

You won't find a tale more true to our city than the extraordinary history of Pale Male. It's just unfortunate that Frederic Lilien's documentary is as clunky as his subject is graceful.

Birbiglia is a great storyteller, but not a natural actor. Matt should really be played by someone with more skill - and by someone in his 20s, rather than a 33-year-old who pretends to be in his 20s by acting as clueless as possible.

This mundane romantic comedy is notable for one reason only: its leading couple.

If you flinch at "boo," you'll find plenty to jump at here. Just don't expect striking originality, or even genuinely memorable eeriness. Still, every time "Dark" starts to feel like a generic thriller, it's saved by the distinctive stamp of co-screenwriter/producer Guillermo del Toro.

There's not much to the movie, in which we watch the participants crack jokes and complain about their in-laws over corned beef. But when the diners include Sid Caesar, Carl Reiner, director Arthur Hiller ("Love Story"), "Animal House" producer Matty Simmons, and anachronistic announcer Gary Owens, it's worth pulling up a chair.

Often insightful and more than a little depressing, this is a story that only gets uglier as it goes on.

While Sigman conveys a credible state of tense disbelief throughout, it's increasingly frustrating to watch Laura so passively accept her dire fate.

Some of the accusations feel more sordid than satisfying.

Though Alvarez keeps us watching, he takes no real chances. Buried under all those enthusiastically mangled bodies is the comfort of familiarity. He may have intended to remake a single film, but we’ve seen this movie countless times before.

Coco’s angry frustration, Pug’s bruised confusion, and the police helicopters constantly hovering above the defiant bikers say enough.

The real star, though, is the ocean itself, which is so stunning in its furious majesty that we fully understand every risk they’re willing to take. Finally, a 3-D ticket worth paying for.

Younger kids looking for the cute connection between hesitant teen Hiccup and his loyal dragon, Toothless, may be stunned by the film’s violent tone. At the same time, it’s the unflinching edge that gives the film its unexpected depth.

Barratier directs with a jaunty artifice more typically seen on stage, but with the exception of Arnezeder, his cast turns theatricality to its advantage. They're offering us a sunny fantasy during a cloudy time, and seem well aware that we're unlikely to resist.

It’s worth seeing Robert May’s vital judicial expose — not only to learn about the titular scandal, but also to appreciate both the highs and lows of human resilience.

What we really want is to get to know them. Instead, the film too-aptly reflects life in their line of work: brief interludes rather than intimate soul-baring. That's a shame, since there can't be that many 70-year-old identical twin prostitutes with a 50-year history in the business.

In some ways, Soni has the hardest job here: He’s got to make the rigidly old-fashioned, obsessively uptight Ravi likable enough that we want to see him end up with an independent woman. But Viswanathan has some hurdles too, and they wind up being tougher to overcome.

At first, Elie Wajeman’s moody French drama looks like so many other stories to come before it.

Director Ryan Murphy achieved a major casting coup in landing Julia Roberts to play Gilbert - or Liz, as she's called here. As it turns out, though, a lesser star may have been a better choice.

A limited amount of original footage -- awkwardly enhanced with reenactments -- gives the film a somewhat narrow focus. But in a way, the dry tone fits.

There are ominously edited portents and a score that starts at fever pitch and rarely pulls back. But the frayed strands of the horror plot feel hastily woven together, and underwhelming when all is revealed.

First-time feature director Omid Nooshin deftly downplays his budgetary limitations. He creates a sense of tension on the confining set and draws as much as possible out of a strong cast, led by Scott.

At heart, Middle of Nowhere offers material we've seen many times before. But between her perceptive direction and Corinealdi's layered performance, this modest, micro-budgeted story has been beautifully packaged.

Director James Gray is best known for hard-edged dramas like "Little Odessa," so it's surprising to find he has such a well-developed romantic side. This isn't your average date-night flick, though.

In his directorial debut, Krasinski doesn't seem to believe in his hideous men so much as he appears intimidated by them.

A more probing exploration of the subjects' diverse challenges would have been welcome. But your heart connects to these young artists. When they soar - onstage and off - you feel it.

The baby angle is really just a hook on which to hang wry commentary about single life in the city, but Lisecki approaches his subject with obvious affection, and the game cast makes most of the sitcom-silly antics work.

The lack of subtlety indicates that this is a first film, but the passion and insights are strong enough to make you wonder what he'll (Webber) do next.

Such dark doings won't be for everyone, but fans of similarly dry Nordic fare -- like the works of Aki Kaurismaki -- will be happy to have found it.

A strong cast, empathetic direction and memorable soundtrack help create a movie that does everyone proud.

It takes a little while to pick up speed, but once Tony Scott's Unstoppable starts moving, it becomes a lean, efficient action flick.

Director Bertrand Tavernier’s amusing new political satire isn’t toothless, but it could use more bite.

Anita Hill deserves a great documentary chronicling her life, her trials and her ongoing impact. This underwhelming effort isn’t it.

The actors are up to the challenges of the many serious moments, but the sweetest ones are the most memorable. It's nice to see Loach's gentler side.

A message movie that's genuinely worth watching.

The actors are so committed, and the script so heartfelt, you’d have to be a villain to resist this group’s superpowered sincerity.

There's not a single moment when you forget it's Weaver; she always seems to be inhabiting this poor character's soul for her own purposes.

It's undeniably interesting to watch each element come into place, from choreography to costumes. But the truth is, most viewers will best appreciate the retro-sexy dance numbers themselves.

Though he plays two other roles, Perry only really cuts loose when he dons Madea's housecoat, turning her into a devilishly funny voice of reason. Likewise, the movie tenses up when she's offscreen, becoming the sort of moralistic soap opera we've seen from Perry before.

While "Escape" was superior in story, "Race" does commit to an impressive scope. What it is, really, is a big-studio popcorn flick that just happens to be made for tweens.

Ferrera and Gross are the most appealing pair I've seen in awhile; their calm confidence is a welcome antidote to the unrealistic couples who've been cluttering our screens way too long.

A compelling account of an ordinary guy who transformed himself through extraordinary circumstance.

Refusing to be rushed, Doris Dörrie blends individual experiences with universal emotions to create a quietly moving study of self-discovery.