Elizabeth Weitzman

Alfredson makes the most of every detail, carefully crafting an atmosphere of haunting alienation. These two lost souls may come together under unusual circumstances, but their connection feels universally human.

It’s not a perfect movie, but it’s also never, as Lori grudgingly notes about Julian’s work, uninteresting. And in this cultural moment, that’s an authentic win.

Steven Meyer's deeply affecting documentary, narrated by Laurie Anderson, takes us back to a camp in Nazi-occupied Poland, Majdanek, in order to honor those who left everything behind.

Segel and Nicholas Stoller, who made "Forgetting Sarah Marshall" together, wrote the screenplay for The Muppets with obvious intent: to return these icons to their former glory.

Along the way, the movie documents a movement while deftly skewering a cynical media and ever-gullible public. So whether we're being had or just enlightened, Banksy's definitely found a new medium in which to create his own works of art.

Even with all the CGI effects, this darkly emotional movie feels like the anti-"Speed Racer." Sure, it's a big-budget spectacle. But it's also the kind of grandly old-fashioned entertainment we don't get enough of anymore.

This is very much Brand's movie, with Hill playing a surprisingly subdued straight man. Still, the strong supporting cast - including Rose Byrne and Elisabeth Moss as the guys' girlfriends - easily holds its own.

Though Greenfield is too skilled to overplay her intentions, the picture that emerges gains additional power from its clarifying distance. The Kingmaker is required viewing for anyone concerned about the direction of their own democracy.

Leoni and Kinnear are charming, and Koepp keeps the mood appropriately light. But really, this would be just another disposable comedy if it weren't for our unassuming star.

A psychosexual thriller that lures its viewers into a woozy nightmare.

You'd be hard-pressed to find a misfit loner as confident as Olive, who bears her considerable tortures with remarkable grace. But Stone is so funny, smart and sweet that we relate to her anyway.

In this film, a single word is worth more than all the expensive effects imaginable.

It's that happiest of surprises: a multiplex movie that genuinely respects its young audience.

Out-pranking the prankster, [Berman] turns a documentary about an unpredictable subject into a meditation on what it means to make a documentary about an unpredictable subject.

A little miracle, Azazel Jacobs' lovely story of a life lost and found tackles big issues -love, maturity, fulfillment - in deceptively modest fashion.

Bateman could have been much more interesting if he'd been played by someone who wouldn't need to work quite so hard (Charlie Sheen or Rob Lowe might have been fascinating here).

Ultimately it's Sheen, finding new facets of his character in every scene, who shoots and scores.

As vital as the best war chronicles to come out in recent years, this is one every American ought to see.

Though consistently engaging, Redford’s latest directorial endeavor does feel like a plea. You can almost hear him coaxing us to learn from the past, even as we rush into the future.

As both writer and director, Jenkins pushes us to rise above judgment by steadfastly refusing to indulge in it herself. Deep empathy suffuses the screen, enveloping every one of the characters.

Most of all, she (Zemeckis) brings generosity and compassion to the Hiltons’ tragic story.

DaCosta uses a range of thoughtfully considered media to shape their already-sharp script; the film’s violence is equally startling whether it’s depicted graphically and up-close, or through old-fashioned shadow puppets and oral traditions.

This film's only real stumble is its ending, which is so predictable it seems like a bit of a copout.

This mordant, macabre look at the American obsession with fast food, television and murder is icily funny.

Nichols approaches his subject with thoughtful empathy, and while his themes are enormous - he's addressing no less than the state of our nation - he wisely underplays even the most important moments.

Blunt has never been more relaxed, and she and Segel have a believably warm chemistry. It's also nice to find a romantic comedy with so much respect for both its leads.

Delightful proof that money and fame have nothing on ingenuity and wit, Safety Not Guaranteed is worth a million meaningless blockbusters.

These characters are stripped bare in every sense, reflecting an extreme degree of inner confusion, vulnerability and fear. Betrayed and broken as children, they now have to define and rebuild themselves as adults...Sissy turns a nightclub rendition of "New York, New York" into a heartbreaking plea.

Margaret - titled after a poem - reflects its adolescent subject with striking accuracy. It can be frustrating and self-important, clumsy and naive. But it's also passionate, curious and filled with insight, so unafraid in its ambitions that even the flaws are interesting. Every bold vision requires respect; a few deserve celebration. This is one of them, imperfections and all.

Rahim and Arestrup are both so outstanding that if this were an English-language film, they'd probably be nominated for Oscars, too.

There can never be too many stories of human grace and perseverance like those of Nova, or Nate, or Adam, all teens who've been encouraged to channel their resentments and desires into art.

“Let’s go for a little ride,” teases Vin Diesel as Dom Toretto at the start of Fast & Furious 6, an amusingly mild suggestion that’s also the only moment of understatement in two dizzyingly high-octane hours.

The result is a visual treasure that successfully blends deadpan quirkiness with a wry realism rarely seen in any film, let alone one for children.

The historically essential document they’ve created here pulses with an immediacy that will leave you simultaneously enlightened and stunned.

Cooper and Lawrence could so easily have stumbled over the logistical bumps and clichés strewn across Russell's defiantly dark script. Instead, they glide right over them, creating an edgy romantic dramedy that suits our anxious times.

Musical biopics usually replicate a star's rise and fall in depressingly predictable fashion. Hurray, then, for Mat Whitecross and his vibrantly eclectic take on what should feel like the same old story.

So clear your calendar. There’s no better time to get to know a character so obnoxiously stubborn that not even his own creator can shake him.

While Lurie could have gone lighter on the symbolism, he ratchets up the tension with deft intelligence. He's not just making a thriller but a horror film, and we feel his own fear in every scene.

Plaza deftly keeps us off balance throughout, daring us to relate to Ingrid even as we’re repelled by her.

Teller delivers a career-making performance as Andrew Neyman, a 19-year-old jazz drummer who wants to be great. Like Buddy Rich great.

Because the movie’s on-the-fly style is as scruffy as its protagonists, it’s easy to underestimate the intelligence and artistry it takes to make something so silly.

It still sounds pretty fresh: politicians scratching backs, loose ladies threatening to talk, careers balanced tremulously on the line

A film as unique as this is a gift that shouldn't be ignored.

Assayas - whose previous work, though noteworthy, never hinted at this kind of ambition - gives the film a journalistic quality, while admitting that only a recombination of facts and fiction could do the story justice. It certainly results in explosive viewing.

(Cusack)'s genius, however, is in his continual ability to be the most likeable of everymen.

The movie's beating heart is the friendship between the women, who had found some sort of happiness by the show's 2004 finale. Now they're all at a personal crossroads and need one another more than ever.

The Zimbalists have unearthed a trove of footage, which they effectively blend with a full range of surprisingly honest interviews. As a result, the story of two individuals expands into a portrait of an entire country, in almost unthinkable distress.

A well-written, sensitively directed relationship drama. In most circumstances, that's all it would be - and that would be enough. But lead Thure Lindhardt pushes the picture into realms of such exposed intimacy, you almost feel like you're dating him yourself.

Director Jillian Schlesinger’s documentary does a terrific job countering everyone’s assumptions. Maidentrip is a clear-eyed chronicle of Dekker’s record-breaking voyage. Think “All Is Lost,” but real, and with a teenage girl instead of Robert Redford (plus a very different ending).

But don't worry if you miss some details; this is the kind of movie that rewards a second viewing.

The cast is splendid, the script quick-witted and the action satisfying.

Even those who adored Alec Guinness as the small-screen George Smiley will appreciate Gary Oldman's perfectly attuned turn as a Cold War spy drawn back from forced retirement.

Lee pushes this joyride into stimulation overdrive, playing with colors and film speeds and surfaces and shadows until it makes perfect sense that a movie should be all about energy, rather than -- well, about anything else at all.

By deftly blending silliness and sophistication, this little movie does its part to stem the technological tide.

These are two middle-aged guys having a good time, by looking forward and backward and, most of all, just by being in the moment. It’s a pleasure to ride along.

Though the Chinese government won't be too happy about it, everyone else ought to be deeply moved by the tragedies Peosay records.

Ultimately, the film is so determinedly evenhanded, it probably won't change anybody's mind. But no matter where you stand, it's likely to leave a lasting impression.

The film leaves us wondering about all the war stories we haven't heard.

The mildly surreal drama doesn't always make sense, but it sure does look great.

Every action scene is a spectacularly choreographed set piece. At one point, Jaa literally fights with feet of fire. Unfortunately, whenever he comes down to earth, so does the movie.

Director Gay deals so honestly with the boys' emotions, it's almost a revelation when compared to Hollywood fabrications.

Toward the finish, the movie takes a regrettable curve into melodrama, but the excellent performances never waver.

Perfectly modulated in its tone and performances, Lawless Heart is content to be a small, quiet film. We could use a few more like it.

What it offers are dozens of intimate moments that feel so true, they achieve a rare kind of grace. This sensitive indie drama was written and directed by brothers - and first-time feature filmmakers.

A must-see both for girls and the grownups who love them.

Troche is most interested in exploring the secret lives hidden inside freshly painted Colonials, and what she finds is that everyone's secret is exactly the same: a crushing inability to connect with the people closest to them.

Samuel Maoz’s Israeli drama Foxtrot is willfully confusing, emotionally chaotic, and occasionally anarchic. It makes complete sense from one angle, but no sense at all from another. In other words, it reflects its subject perfectly.

What Disturbia lacks in complexity, it makes up for in witty jokes, sneaky jolts and a timeless lesson: If you've got windows, someone's always watching.

A memorable portrait of a true New York character, Rob Fruchtman and Rebecca Cammisa's documentary ably captures the blazing force at its center.

Whether this smart, sexy and unsparing film is a hilarious comedy or a poignant drama is a matter of personal opinion — and experience. But if you've ever felt both baffled and blessed by your own family, this "Marriage" is one event you won't want to miss.