Elizabeth Weitzman

Riveting update of George Bizet's "Carmen."

The movie drags in some places and throbs in others, but it looks and feels like a bigger production than it actually is. The largely unknown cast is especially strong - this may be your first chance to discover them, but it won't be the last time you see them.

What Betts seems more interested in is whether these sacrificial rituals are arbitrary or, if not, what they truly represent. To her credit, she never approaches these questions with any judgment, a welcome rarity in films about religion. Indeed, she’s gathered many of the elements required for further enlightenment. It’s just that, in the end, her approach proves too conventional.

The movie's intense focus skillfully exposes the raw pain just under the skin of a seemingly ordinary citizen.

Every time things start to get dull, you're brought up short by another moment of surprising beauty.

As befits a production of impeccable French pedigree, the acting, set design and lush cinematography are all outstanding. But the story is told so slowly.

While The Iron Lady fails as a biography, it succeeds incontestably as a showcase. Streep captures Thatcher's voice and mannerisms and then pushes further, creating a three-dimensional character rather than simply offering a technically deft impression.

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.

The plot is woven from minutely observed details that beautifully evoke a rarely seen world.

The sort of film one should probably see either a half-dozen times or not at all. It's a complex, highly ambitious documentary that aptly reflects its subject, contemporary French philosopher Jacques Derrida.

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.

It's hard to imagine what Akin left unexplored - but here's hoping he'll share his discoveries if he ever returns.

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.

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.

Like picking out a family at random and walking into their house during dinnertime. Sure, their conversations are fascinating to them. But to you, it's just boring, meaningless chatter.

It's the perfect antidote to overprocessed entertainment, for moviegoers of any age.

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

This unusually intelligent crowd-pleaser is welcome proof that quality filmmaking needn’t be limited by subject, audience or budget.

What makes "Lucy and Desi" so compelling is that we can feel, all the way through, that Poehler enjoys telling their story just as much as we enjoy watching it.

Timoner uses a stripped-down, totally straightforward method. She sets up a camera in her parent’s living room, where her father is resting in a hospital bed and her mother is silently worrying on the couch. And then she begins counting down the days.

The most memorable turn, however, comes from young Holland. There is not a moment in which Lucas' fear, or unexpected courage, feels less than real.

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

The tone is attentive and responsible.

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

The film’s best scenes are, in a way, the flip side to its weaker ones: the closeness between Castro and her subjects lessens their objectivity but strengthens their intimacy.

The best movies are ever-shifting, intelligent and open-hearted enough to expand alongside an audience. American Sniper, Clint Eastwood’s harrowing meditation on war, is built on this foundation of uncommon compassion.

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).

The film is unabashedly supportive of Father Hartley, presenting him as a stubborn saint, and depicts the wealthy owners as soulless villains. Presumably they have a different story to tell, but we wouldn't know: When the camera's on, none can be found.

There is so much to admire in Joshua Marston's The Forgiveness of Blood that it's easy to overlook the miracle at its center: Marston's artistic idealism.

She (Walters) may be working with old news, but she shores up this shaky film with a heart the size of an ocean liner.

When writer and director are one and the same, there’s always a risk that the project will suffer from a lack of perspective. Indeed, in helming her blackly comic indie Miss Meadows, Karen Leigh Hopkins fails to fulfill the potential of her own script.

Eastwood's performance is the movie's centerpiece, and as you might expect, it's just tough enough to hold everything together.

The film is structured so we come away with two competing, and yet complementary, impressions. First, that our political system has become infected with a rampant and deadly corruption that has spread out of control. And second, that there is a communal cure.

It's not that this is lousy entertainment, it's just that it's a Serious Topic given unnecessary Celebrity Sheen.

Despite some contrived plotting, Amari and Abbass have so much empathy for Lilia's shy self-discovery, it's a pleasure to watch her gradually give in to her newfound joy.

Ultimately, the filmmakers’ intention isn’t to throw us off but to invite us in, to encourage us to wonder: Is it really so strange for one woman to have two reactions to life?

As for our leading man, he’s clearly just messing with us now. Who else would make a revenge thriller called Rage and then sleepwalk his way through it?

A slow burn that never quite bursts into flame, Both Sides of the Blade is likely to appeal most to those who are already fans of director Claire Denis. That said, would anyone turn down the opportunity to spend a couple of hours with her luminous leading lady, Juliette Binoche?

By the time they're ready to leave their trench, we're not at all ready to see them go.

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.

"Dexter” fans will enjoy watching Michael C. Hall as a bumbling everyman terrified of violence. But there’s plenty more to appreciate within Jim Mickle’s gripping adaptation of Joe R. Lansdale’s pulp novel.

Definitely worth a chance: although everyone in this fog-shrouded setting makes grand sacrifices, all you'll lose are a few tears.

The 6-year-old I watched it with summed it up perfectly: “It starts out fun but then it’s kinda sad and scary. And sorta boring, too.”

Mikkelsen's unconventional features and intense talent lend a compelling edge to this expansive period piece.

Certainly has the look and feel of a masterpiece, but it's missing the emotional core that most moviegoers need.

Fans will want to replay the extensive archival footage over and over. Newcomers are more likely to pause halfway through, search out the superlative soundtrack, and immerse themselves in the music that inspired this rare, fall-and-rise story in the first place.

Zax’s gentle, fly-on-the-wall perspective keeps us primarily in the present, reminding us that all we need is right there inside the shop.

It's not so much good material as divinely inspired delivery.

Watch closely and you might even spy a better film inside, straining to break free.

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.

Fans, of course, will fiercely argue that Buckley has so much more to offer. And in the strongest compliment to Berg’s affectionate portrait, she makes a similarly convincing case, with ample and tender grace.

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

That we watch the ticking moments of Where Is Kyra? with so much concern is a testament to the filmmakers and cast determined to elevate her unnoticed life.

For starters, it's a pleasure to see Matthew McConaughey - a gifted actor who can't hide his boredom in trivial work - finally settle into the role for which he was born.

Despite its desperate attempts to appeal to every possible age group, there is no obvious audience for this movie.

If last year’s searing old-age tragedy, “Amour” — or 2006’s bravely blunt “Away From Her” — weren’t digestible enough for you, perhaps this mild romance will suffice.

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.

A natural crowd-pleaser, this year's big Sundance award winner is both overly familiar and surprisingly fresh.

The script is stocked with amusing one-liners, and there are just enough caustic observations to keep viewers nodding in agreement.

Geraghty relies too heavily on facial expressions and mannerisms, but those who appreciate visible effort may be seduced. There's no denying he works hard to keep us on the line.

This story doesn't go well with popcorn, and you won't be able to shake it off like so many blockbusters. That said, it's likely to be the most unforgettable film you see all summer.

Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they’re both so committed to seducing their audience, it’s a lot of fun watching them try.

Its straightforward approach is notably lacking the divine inspiration of its subject. But Don McGlynn's gospel documentary delivers so many moments of artistic ecstasy, we can forgive the plain wrapping.

Intermittent shots of actress Emmanuelle Seigner embodying the lyrics are surplus.

Narrated by Nicole Kidman, this poignant documentary tells only half the story of three Sudanese "lost boys" who emigrate to America. Though it doesn't delve as deep as it should, this movie will still break your heart.

A fascinating deconstruction of history, culture, and identity, No Ordinary Man raises so many crucial questions — and answers them so thoughtfully — that it moves beyond entertainment into the realm of essential text. It belongs, equally, in theaters, streaming queues, and classrooms.

No one will accuse The Ringer of being tasteful, but when you're not laughing, you may find yourself genuinely touched.

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

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.

When a movie doesn’t hold up to introspection as a whole, it’s best to examine its parts. And some of those are admirable.

There's plenty to appreciate in Chris Rock's rollicking documentary about what goes on when African-American women hit the salon.

Are two Demis better than one? How you answer will determine the level of patience you'll need to sit through this bizarre pet project.

If this lovely tribute sends viewers in search of the real thing, that would be a neat trick indeed.

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.

It's all a little insular and very conversational, but the setting is cozy and the performances all pleasantly low-key.

Kessler has indeed made a film about a fame-chasing narcissist in desperate need of attention. But that has nothing to do with the guy we came to see.

Though the film is as long as the escape route, Richter's brisk direction keeps us riveted through the suspenseful finish of his vivid history lesson.

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.

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

As both writer and director, Cronenberg focuses so intently on the surface that he neglects to include enough substance.

Unlike its levitating heroine, it never really gets off the ground.

In Gertten’s hands, Nelly & Nadine isn’t just a war movie but also a touching family history, an unforgettable romance and, above all, a magnificent tribute to the power of persistence in art, life and love.

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.

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.

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.

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.

Roehler aims scattershot barbs at so many targets, from political hypocrisy to suburban entitlement, that he often misses. But whenever he takes the time to line up his toxic arrows, usually with the help of a compellingly squirmy Bleibtreu, he hits the bull's-eye.

In this group, only Hemsworth stands out.

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.

While the actors do fight to find depth, their characters are consistently sketched in two dimensions.

The blatantly misogynistic treatment of the female characters, who exist solely to service Rob and his best friend (Craig Roberts), would have felt retrograde in a movie made decades ago.

If you think of Reilly as little more than a camp icon, you've got a lot to learn.