Elizabeth Weitzman

Though the story itself is undeniably fascinating, this somewhat prosaic account simply doesn't do it justice.

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

Besson takes a few clumsy stabs at political relevance, but it's clear that grand themes are not his priority. That's okay: His charismatic leads are martial-arts masters, and their breathtaking stunts smoothly lift the movie every time it stumbles.

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.

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.

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.

Smart, imaginative - and nearly ­impossible to watch.

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

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.

Corcuera is a deft and determined storyteller, and it's a testament to his passion that we're left wanting to know a great deal more about each of his subjects.

Granted, it's a far cry from the Pixar classics. But Pierre Coffin and Chris Renaud's nicely quirky, animated comedy has just enough edge to entertain every member of the family.

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.

Jones co-wrote the uneven script with Will McCormack, and one can't help wishing she'd aimed higher. Acknowledging cineplex clichés isn't enough if you still wind up embracing, rather than subverting, them.

As is, the film is more likely to impress the choir than change many minds.

If you hired an independent filmmaker to create a perfume ad, and then turned that ad into a full-length movie, you’d probably get something that looks a lot like Dimitri de Clercq’s directorial debut, “You Go to My Head.”

Though Weddell's accomplishments are inspiring, we would have been better served by a more impartial portrait. With its reverent tone, the movie often feels more like it was made by a doting granddaughter than a pro filmmaker.

There are plenty of unexpected moments within this stirring film, but it's no surprise at all that it's been tapped to compete for a Best Documentary Oscar next Sunday.

Despite the film’s worthy goals, there are some empty calories. Katie Couric’s narration and Soechtig’s uninspired style make it feel more like a TV special than a feature documentary.

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

Earth to Echo is a copy of a copy. The movie feels less like a weak “E.T.” than a substandard “Mac and Me.” And you may not even remember the latter, a 1988 flop — the fate likely to hit this well-meaning but underwhelming effort.

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

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

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

The whole movie is a blast, thanks to a whip-smart script clearly written for kids and grownups alike.

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.

An ingratiatingly sincere attempt to deal with the complications and contradictions of modern romance.

It's a little corny and somewhat overlong, but a sweet sensibility and stirring adventure scenes make The Water Horse: Legend of the Deep a welcome gift for anyone looking to keep kids entertained over the holidays.

Because the film focuses entirely on the women's work, we learn too little about their personal histories. How did they even rise to such prominence in what appears to be an extremely patriarchal society?

Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.

Bukowski fans - and they are legion - may fill in the blanks from their own knowledge of the writer and find Factotum a more complete character study than it really is. For the rest of us, there are a few laughs - and a corking hangover.

Although this ­satire of Hollywood inanity isn't the comic ­classic it could have been, Downey's gonzo performance is a must-see.

Marie Féret struggles to hold the film's center throughout, but there's more than enough to distract us, from transcendent music to sumptuous costumes and sets.

Aside from some resonant hints that all is not as it seems, the movie leaves it to you to decide where the truths begin and ends. You'll be untangling Dresnok's knotty reality long after you leave the theater.

Wang Xiaoshuai’s gently engrossing coming-of-age tale isn’t strikingly unique, but it does possess the heartfelt confidence that comes from autobiographical influence — and natural talent.

Crucially, Cruise knows just how to pace Cage’s shift from cowardly to courageous. Yes, we get cool effects and impressive machinery. But he and Liman add unexpected humor and genuine tension to the seasonal thrill of blowing stuff up.

It feels as though we're on a journey with Benjamin, who proves to be a wryly funny, passionate and complex traveling companion.

At moments, the story skirts uncomfortably close to the grotesque. But this atmospheric oddity delivers a surprisingly sensitive take on the overwhelming ache of loneliness.

It's hard to believe Andy Warhol's Factory created enough characters to keep us interested 40 years later, but as it turns out, drag diva Jackie Curtis still has a few more minutes of fame left.

Her update on “Ice Storm”-style suburban ennui feels particularly potent right now, in its vision of a rotting establishment. But in the end, Anders’ deeply-rooted entitlement proves regrettably unassailable.

Every trip requires patience, and this one brings plenty of rewards, in the ecstatic sounds of a country most of us haven't been able to visit firsthand.

With so many cynical Hollywood romances cluttering theaters, Zhang Yimou's unabashed simplicity is most welcome.

Crowley's biting portrait feels painfully dated, but in a way that's the point: Pioneers fight so those who follow can take their battles for granted.

Indeed, this year’s Antiquarian Book Fair is celebrating its 60th anniversary at the Armory right now. And after seeing “The Booksellers,” you’ll be a lot more likely to think about how to get there, and maybe a little less inclined to place that next easy order on Amazon.

It's a "First Wives Club" for single guys, giving voice to a whole range of authentic, if not always responsible, attitudes and emotions.

Though John Stockwell's action comedy is shamelessly derivative, his enthusiastic cast propels it much further than it should go.

Riseborough once again transforms herself dramatically, expanding her role as best she can. But neither the hesitant script — adapted by Tom Bradby from his own novel — nor the sluggish tempo give her enough support.

Occasionally exhilarating documentary.

It would have been helpful had Smith put his words into some sort of context, allowing others to assess his theories. Instead there's simply Ruppert, talking, raging and warning, as if his very life depended on it.

Warm and engaging.

Never shies away from either the beauty or the cruelty of the hunt.

DuVernay's feature debut is simple and almost proudly plain. But such a stripped-down approach allows its authenticity to shine.

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.

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.

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

Babenco does a better job with place than with people: His explosively overcrowded jail is a teeming tenement, which makes the inevitable climax feel, finally, like something real.

Rarely has there been a movie as misguided as Hounddog, which self-righteously indulges in exploitation while loudly decrying it.

Jasmila Zbanic's poignant drama reminds us that the aftershocks of war linger for generations.

All the popcorn movies you're planning to see will still be at the multiplex if you wait another week. This shimmering beauty will be gone in a flash. Catch it while you can.

While Diaz and Kutcher make their clichéd characters as likable as possible, you can bet on this: Any movie named after an already-stale ad campaign isn't likely to gamble on the unexpected.

Hickenlooper does a nice job blending Bingenheimer's flashy past with his somewhat pathetic present, creating a genuinely compelling study in diminishing returns.

Providing a tart balance to such enthusiastic admiration, Gehry's own blunt musings on his motivations, revelations and desires prove especially interesting.

Despite some grim ecological statistics and a conservationist message, the movie is so inspirational it feels like the sort of old-fashioned family film that can now be excavated on Disney+.

Everything you might want in a road movie: an off-the-cuff sense of adventure, a winningly scruffy charm and a whip-smart sense of humor.

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

There are few surprises here.... But that’s okay, because we’re in it for the ride, the company, and the pure pleasure of watching these women, and the actresses playing them, embrace an independence Hollywood doles out too grudgingly.

Goldthwait explores his themes more thoughtfully than you'd expect, but ultimately, we know just how things will end. And what's subversive about that?

There's enough action to keep us watching, but little incentive to return when the movie's second half - yep, another two hours - hits theaters next week.

Anyone who laments the loss of an older, grittier New York ought to adore this affectionate portrait of Greenwich Village restaurant owner Kenny Shopsin.

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

Amanda Micheli's candid documentary introduces us to two of these real-life daredevils, and it is a genuine pleasure.

Unlike so many indie films, Michael Kang's gently empathetic debut embraces eccentricity without drowning in its own hip irony.

The film is hampered by a somewhat shallow, soap-operatic climax. But Knoller is superb as a practical man trying to balance reason and emotion. Fox does an excellent job capturing the claustrophobia of army life, made all the more suffocating by having to hide one's true self.

While some may be put off by Peggy's wild-eyed mania, and the film's broadly comic tone, Shannon makes this lost spirit strikingly sympathetic.

Unpolished and clearly made on a low budget, the results seem a little like a home video by someone who spent an especially cool summer vacation.

Some of the contemporary winks are questionable, but others are undeniably sharp.

Kurosawa may be considered the genius, but his movie would go nowhere without its extraordinary leading man.

Though the film does have the modest, human-interest feel of a "60 Minutes" segment, it grows stronger as it goes along.

We already know Kristen Wiig can act. So the real revelation in The Skeleton Twins is Bill Hader, who turns in a performance so overflowing with poignancy that he deserves to be considered on any early awards list.

The central love story, platonic though it may be, is entirely between the men. Their connection - and I’m determined to avoid the word “bromance” - saves this film from becoming just another Apatowian wanna-be.

Gentle and affecting, it offers an introduction to a mostly unfamiliar world while touching on issues recognizable to all.

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).

Wouldn't you rather learn about his culture from Norbu than from Richard Gere?

But the movie is so confused about where it wants to go, it suffers from the same identity crisis as its protagonist.

Lingers too long on wordless, symbolic shots of the wall itself. But there's no denying the power of seeing two cultures standing so helplessly on opposite sides of a single fence.

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?

Director Daniel Burman examines the ways people cope with the passing of time, whether it's weary mall employees, a broken family or the diminishing Argentinean-Jewish community.

Jiang's razor-sharp conclusions are less about the Japanese army or the Chinese government than about simple human nature.

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.

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

As with all of Shelton’s improv-inspired movies, the plot offers plenty of interest but the personalities provide the purpose.

Although we never feel any true connection to the enigmatic actress, there's no denying the inventiveness of Kon's homage to the possibilities of cinema.

Gripping documentary.

A great many New Yorkers are rightfully indebted to doormen, but Jaume Balagueró's nasty little thriller offers a decidedly darker perspective.

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

Angio's film is an excellent introduction, but it won't be long before you realize that his subject is too complex to be contained in a single admiring tribute. When you want to know more - and you will - you'll be glad there's somewhere else to go for a bigger picture.

So French you may have to buy your ticket in euros, Christophe Honoré's musical trifle feels ready-made for emotionally woozy undergraduates.

The result is both tragic and darkly comic - in this complex environment, blame and sorrow are locked in a partnership of absurdity.

For the broader audience, this seems both suffocating and confusing -- True opera buffs, however, are more likely to feel thrilled, as if they're privy to a private production of the highest caliber.

Though the results are only moderately compelling, the film's problems stem not from a lack of ideological thrust, but rather from a protagonist who is so phenomenally unlikable.

Possibly the sourest revenge movie ever, Audition starts off as a sweet, low-key romance, then abruptly turns into a grisly, sadistic thriller.

Kold single-handedly carries the film, with his quietly powerful portrayal of a gentle soul in a giant's body.

The slapstick gets a little too silly, and a rushed ending feels unsatisfying. But everyone whose family boasts an excess of opinions will relate.

A risky experiment with a striking payoff, Ted K is an impressionistic attempt to personalize the most unrelatable experience imaginable: life as a killer.

Will thrill those who prefer their violence graphic and their comedy surreal.

Though the material isn’t quite ready for primetime, Winstead once again proves herself a major player.

This little gem is best saved for those -- both young and old -- who prefer to find surprises under the tree.

It's definitely the most fun you'll have with the undead this week.

If you're looking for a modern-day "Meatballs" - or, for that matter, "Meatballs 4" - you're out of luck.

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

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

Li's performance is stronger here than it has been in previous films.

Its appeal comes almost entirely from the cast members, who appear genuinely excited to invite us to their party.

Each viewer is likely to connect with a different character initially, but don’t be surprised if you switch allegiances several times before the story ends.

If Chalk had been made by Christopher Guest - an obvious influence - it would get the attention it deserves. Packed with sly jokes, hilarious performances and sad truths, the movie will probably become a cult classic among educators.

It seems impossible for anyone to remain unmoved by Harper’s thoughtfully-constructed history.

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

Director Wisit Sasanatieng uses every trick imaginable to create surreal postmodern nostalgia. Has he wound up with pure camp, or a cult classic? As he clearly understands, the best B-movies are both.

Zombie's sense of fun gets buried under the growing pile of bodies, and eventually, we're left with little more than a frenzy of sadism.

Through copious clips of studio work and bittersweet interviews with Vinton, his former colleagues, and his family members, we get a sense of both his strengths and weaknesses.

A fairy tale about the infinite power of film, it boasts all his swaggering trademarks: rapid-fire dialogue, gleeful violence, endless cultural references. But it's the sharp-eyed deliberation that makes the greatest impact.

A film more moving than most but not as devastating as it should be.

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

With its carefully-chosen soundtrack, funky animation, and enthusiastic interviews, Dean Budnick's affectionate documentary pays apt tribute to Wetlands, a local landmark that closed in 2001.

Garbus spent three years patiently mining for beauty in the ugliest of environments. The remarkable result stands as a challenge to anyone who would have seen only the worst and walked right by.

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.

There's far more to this groundbreaker who built an empire in the face of formidable challenges. So why would you miss it? Go already.

When it's all over, we still don't know who Wintour really is.

Fans of Andrew Bujalski's previous mumblecore movies are the likeliest audience for his latest, a modest, slice-of-life indie that doesn't quite live up to his ­earlier efforts.

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.

it's Van Zandt's family that provides the film's most memorable moments.

Unless you happen to be one yourself, chances are pretty good that you'll take an immediate dislike to the self-satisfied hipsters who populate this disappointing comedy.

Bertino does an excellent job building dread, especially during the first half of the movie. Every silence, pause and sudden noise startles - and the results, frankly, are more frightening than the graphic torture scenes in movies like "Hostel" and "Saw."

Frontrunners is a lot rougher than Nanette Burstein's recent, similar documentary, "American Teen," and its comparable lack of gloss is both an asset and a flaw.

Director Steve James ("Hoop Dreams") has a worthy message, but never makes the case that he needs an entire documentary to deliver it.

The Painted Veil may begin too slowly, but it also ends too soon.

Some documentaries are so well-made they transcend the nature of their subjects. This is not one of them.

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.

You will find a few glimmers of humanity in Todd Solondz' latest exercise in acerbic observation. But Solondz continues to mistake judgment for honesty, and empathy for weakness.

Though predictable and a bit of a soap opera, Ferzan Ozpetek's Italian drama is saved by the tremendous appeal of its stars, Margherita Buy and Stefano Accorsi.

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.

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.

Michael Jackson fans will love Spike Lee's look back at the making of a classic, even if the extensive collection of clips and contemporary interviews - which could have used a firm edit - feels more suited to DVD.

Terrifically sneaky psychological thriller, which takes great pleasure in watching carefully constructed family values come tumbling down.

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.

It's clear that Kor's goal is to keep people talking, and thinking, about impossibly difficult subjects. And there's no debating her success in that regard.

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.

A thoroughly entertaining animated comedy that's sweet enough for the youngest moviegoers, and smart enough for the most cynical chaperone.

Only the most hardhearted would fail to be swayed by Messner's surprising strength, and -- dare I say it -- irresistible charm.

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

The story is based on real events, which should make it even more gripping, but Abu-Assad and cinematographers Ehab Assal and Peter Flinckenberg draw the rope so tightly around the leads that the suffocating atmosphere reads almost like a filmed play. Fortunately, Abu-Assad does have two excellent collaborators in Awad and Elhadi.

If Michele Ohayon's absorbing documentary didn't provide the proof, you'd never believe the story she tells about Holocaust survivors Jack Polak and Ina Soep.

An evocative vision of self-destruction, a gorgeously crafted time capsule, and a fantastic showcase for Oscar Isaac in the title role.

How anyone could make such an uninvolving movie out of such a fascinating subject remains its own inexplicable mystery.

The movie’s biggest asset is DeBoer, who plays sweetly dim soccer mom Jill with a commitment that’s alternately terrifying and heartbreaking.

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.

Though based on a true story with a well-known outcome, Doug Liman's Fair Game is as suspenseful as any fictional thriller -- and considerably more tragic.

Though he doesn't possess the dangerous confusion of his tragically misguided heroes, veteran director Marco Bellocchio does share their capacity for raising thought-provoking points that end in an ineffectual tangle.

Bamford seems remarkably at home in her unsettled state, to such a degree that her self-awareness feels downright aspirational.

A provocative reflection of its rule-breaking subjects, Brett Morgen's political documentary re-examines the past while drawing unmissable parallels to the present.

So well intentioned that its flaws may be generously overlooked by parents desperately planning activities for school breaks.

From the insistently discordant score to each overthought shot, this triad of stories feels self-conscious and deliberately arty rather than heartfelt.

The sort of discovery meant to be savored by the few who find it, The Go-Getter was made for anyone who ever felt stuck, or alone, or desperate to find their place in the world.

Davenport herself seems stunned by how complicated the story turns out to be, which just makes her movie all the more worthwhile.

It’s impossible to remain unmoved by the many contrasts Abbasi carefully arranges.

Though his slim script (co-written with Chris Smith) holds few surprises, Angarano’s direction is consistently confident. He paces this minor tale wisely, getting in and out of the characters’ small stories in a perfectly-timed 84 minutes.

By the time you've worked through the allegorical implications, you may be wondering why you didn't just go see "Charlie's Angels."

It's always dispiriting to see an ideal subject given shallow treatment, and one spends most of this documentary wishing a more experienced director had made it.

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.

Schoenaerts capably handles a difficult role that's equal parts pathetic, repulsive and heartbreaking. But you'll need a strong will to spend your time with such a tragically hopeless character.

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.

An enjoyable trip, as long as you don't mind traveling light.

Shabby on the surface and indulgent at its core.

While foodies are sure to feel sated by the gastronomic splendors of Paul Lacoste's debut documentary, others may walk out with a strange sense of emptiness.

Lively and affectionate, Matt Tyrnauer's documentary is made for those who believe, as he does, that the work of fashion designer Valentino is worthy of the most respectful chronicle.

Hans Petter Moland's dry Scandinavian wit is just amusing enough to keep us interested in this dramedy.

That the film is overlong ultimately testifies to its importance, though after a while, the outrageous details start to run together like surreal satire. Except, of course, that it's all true.

It's a fascinating story, and too epic to be contained here. But the directors certainly capture our interest, even as they leave us wanting to know more.

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 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.

If Ayer had taken as much care with his bad guys as he does with his leads (and their deftly sketched wives and colleagues, played by Anna Kendrick, America Ferrera and Frank Grillo, among others), he might have crafted a seamless picture.

Neither Francophiles nor film fans could ask for anything more than François Ozon's latest, a charming comedy.

Sensitive and thoughtful coming-of-age story.

What makes this one stand out is the tugging, melancholy romance hiding behind the curtain of blood.

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.

If you like your gore hardcore, you'll want to head straight for "Halloween II." But if you're happy to ease around a slightly smaller track, look no further.

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.

Offering both too little material and too much, the movie leaves us in the bizarre position of understanding its subject no better by the end than we did at the beginning.

Alex Gibney's forceful documentary starts with a single tragedy: the torture of an Afghani prisoner at Bagram Air Base. By the time it's over, he's broadened his focus into a documentary so damning of the U.S. government, it's hard to believe he even got it made.

The film is somewhat hampered by the refusal of the parents in two of the three families to participate in it. Though the children provide an eloquent, impassioned presence, their parents' absence is overwhelming.

Brodsky's last film before his death is a moving tribute to his career.

Proving there's always a new way to tell an old story, Stephen Chow pulls out all the stops for one of the silliest, sweetest and most fun family films in recent memory.

Only slightly less awkward than its young protagonists, Todd Stephens' earnest coming-of-age drama is able to coast a long way on two engaging performances and some endearing moments.

The laconic Lemarquis does a solid job carrying off Kári's dryly mordant wit, making this eccentric story well worth watching.

The town's entrenched racism is impossible to ignore, but the efforts toward change make a compelling history.

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

A work of impressive investigative cinema. ... Their choice to focus so tightly on a micro-scenario here does strand us, occasionally, in the weeds of detail. But it’s tough to watch such a flatly incriminatory report without taking a macro view of society’s villains and heroes.

Braverman’s approach, in which he mostly relies on Kaufman to tell his own story through extensive and deftly edited vintage footage, is the right one.

Pulse works as a hypnotic meditation on contemporary alienation. Traditional horror fans, however, will search in vain for signs of life.

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

What it is, to borrow a word from the ever-eloquent spider Charlotte, is average. Don't misunderstand: While never quite enchanting, this "Web" is perfectly entertaining. But it could - and should -have been so much more.

As escapist fantasies go, this easygoing romance is a modest winner.

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.

Is there another actor working today whose face registers the extraordinary range of emotions Michelle Williams can display? Even in a film as false as Sarah Polley's Take This Waltz, her swiftly shifting expressions feel unerringly true.

This seemingly ordinary biographical documentary about the retiring animation master unfolds, at a deceptively gentle pace, into a work of immense beauty.

It will be a long time before you forget the deep pain etched into the weary face of Carmelo Muñiz, the mariachi singer at the center of Mark Becker's immensely moving documentary.

Brian Knappenberger’s urgent new documentary Nobody Speak: Trials of the Free Press is the sort of movie that impacts your viewpoint long after it ends.

This is a vital history lesson that many of us have missed but few are likely to forget.

There are no supermodels or Cinderellas in this sadly compelling story, just predators and the impoverished dreamers who want to trust them.

There is no doubt that Gore has a life-altering passion; he just doesn’t possess the personality required to express it cinematically.

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.

Euros Lyn’s heartwarming Dream Horse doesn’t rewrite the genre, but it’s feel-good filmmaking of the sort many may be inclined to seek out at the moment. Although overly familiar and openly sentimental, it’s also an easy watch that’s gently appealing.

Strong performances and understated cinematography help balance the self-conscious editing, but ultimately the entire affair feels false.

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

Equally compelling and depressing.

Exhibiting a dexterity that suggests far more extensive directorial experience, Ejiofor proves himself a master of impact. His visual approach is expansive and evocative, thanks also to the fine work of cinematographer Dick Pope.

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.

As they talk between classes about oppressive husbands, abusive brothers and arranged marriages, it becomes clear that the frivolities Americans take for granted can be their lifeline. In this tentatively hopeful setting, a single lipstick becomes leverage.

Feels like reading someone else's diary. Undoubtedly, there's some very important stuff in there, but it's most interesting to the person who wrote it.

It’s a lightly-indulgent passion project that leaves us wanting so much more.

While the boys' fates do seem a little too predestined, that may well be Arslan's intention. When you're idling in no man's land, it's all too easy to get uprooted.

The kind of thriller we've seen a thousand times before. Fortunately, nobody told leads, Ryan Gosling and Anthony Hopkins, both of whom devoutly believe they're in another, better movie.

Tossing off one-liners about drugs and porn to a New York audience, even Waters sounds a little bored.

An old-fashioned joy.

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

It's the next best thing to being front and center.

There isn't much here besides two self-absorbed kids.

While Yu's experimental approach brings valuable insight to the human condition, the interviews themselves too rarely measure up to her ambitious structure.

Overly polished, but deeply affecting, documentary.

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

Trachtman's gentle profile does make for touching viewing, but she leaves too many questions unanswered.

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.

Unfortunately, Madsen (a Danish filmmaker, not the American actor) has an approach to this rich topic that is repetitive and simplistic, as if he wasn't quite sure how to fill out even a brief feature.

Once isn't especially complex, but the chemistry between its appealing leads (who contribute to the lovely score) feels deeply true. You'd have to look awfully hard to find such sincerity in a Hollywood romance.

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.

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.

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

If you're wondering whether the rules of love change during war, you won't find a better case than the urgent, darkly comic relationship between these two.

Though younger fans of Cameron's 1997 blockbuster may be a little disappointed at the lack of, well, Leo, Cameron persuades us to share his obsession with the ship's history.

Takashi is a master of the jagged quick cut and the shocker finish, and his head-spinning story is pumped up with almost more bravado than a single screen can handle.

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.

An invaluable chapter in the story of our city.

This ambitious approach is, unfortunately, more intriguing than effective.

The overall effect is that of a deferential video you might find at a Mozart museum: educational, but not exactly inspiring.

It's no minor accomplishment to make one of the most indulgent projects in Hollywood history. But with This Is the End, Seth Rogen and his pals have indeed achieved this dubious goal.

A shaky but promising debut, Brian Jun's downbeat family drama is likely to make you feel a whole lot better about your own life.

It's the many thoughtful, eloquent interviews with Fellini himself that serve as the heart of the film.

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

Though Harden has the showier role, a subdued Pantoliano is the movie's real star. Sometimes, the quietest performances are the most powerful.

The story does feel a little threadbare, and much of the pacing is far too slow for a suspense thriller. But Perez and Leguizamo make an entirely believable couple.

This impassioned documentary is well-intentioned and admirable in its aims, but overreaching and therefore lacking impact.

There’s so much more to this story — as any number of articles about the people he wronged attest — but this time, Gibney never really gets in gear.

His outlandish story feels only half-told - though still twice as fascinating as most.

Consistently moving but never quite coalesces into a strongly coherent whole.

There’s something oddly appealing about the fact that Rebecca Zlotowski’s understated thriller, A Private Life, stubbornly refuses easy definition – other than as a modest romp that allows Jodie Foster to perform in another language. And if you’ll watch Foster acting in anything, you’re gonna love watching her do it in French.

Barney's cinematic art inspires both awe and revulsion, often simultaneously.

There are movies that are important, and then there are movies that simply look and act as if they're important. With its arthouse cast, hipster credentials and ominous atmosphere, Young Adam never bothers to reach for real significance.

Given that we already have a documentary that captures the event so successfully from inside the era, it’s curious that the filmmakers don’t try to mine a perspective beyond nostalgia

There’s a surprising lack of provocation to this determinedly positive portrait. As a result, the movie often feels like a full-length ad for a great workplace, which just happens to stash whips and chains in the stationery closet.

The movie looks great, never lags, and keeps us intrigued throughout. It's not until the high wears off that we realize we've just been had.

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.

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 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.

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

With a soundtrack that ranges from classical to jazz to bluegrass, this is not only an obvious choice for ­music lovers, but required viewing for anyone interested in the mysteries of creative inspiration.

Overly reverent but still immensely touching.

Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.

The real problem is that this eager-to-please debut never quite achieves its own, more modest ambitions.

Krause is very nearly too passive. Deadpan is one thing, an empty vessel is another.

The power of this plot comes from the drudgery of daily existence, not shocking revelations or dramatic encounters. Some stories, Teixeira is wise enough to realize, are best left unadorned.

What sets it apart from other overpraised festival indies is its tremendously gifted lead.

This is an important New York story, and Spaisman makes an inspiring subject.

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.

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.

Jon Favreau's adaptation of Chris Van Allsburg's kid-lit adventure of the same name, more than fills the bill - though it's unlikely to draw anyone over the age of 11 (not counting baby-sitters).

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

Though the religious component is written broadly, the impact is hardly more surreal than many elements of 21st-century reality.

When these proudly strutting dandies glide through a grimy basement as if they didn't have a care in the world, their joy is irresistible, and Ronde's point is made.

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

Both compelling and disturbing, this tragicomic documentary follows five dreamers as they pursue romance.

On film, and eight years after they were written, his urgent re-creations of an awkward first date, or a Village People obsession, feel both overly familiar and almost embarrassingly earnest.

A poignant, deeply ­intimate history of one family.

As for Scott, his rather wry interpretation is competent, but neither daring nor insightful enough to arouse any great passion.

The film's slightly awkward self-consciousness is balanced by an appealing, gently deadpan performance from Palmieri.

Ultimately, the project suffers from a nearly complete lack of contextualization. We could surely use some background on Goebbels' complicity in mass genocide while listening to him brag about his beautiful, healthy children and happy family life.

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

Barker’s fly-on-the-wall approach eschews showy grandstanding and divisive biases. So there’s a better-than-usual chance that viewers on both sides of the aisle will find themselves moved.

The scale in which Fukada works — as both writer and director — is so deliberately intimate that immense experiences feel microcosmic, while tiny moments make a huge impact.

Something has surely gone wrong when there is not a single moment in Ice Age: Continental Drift that equals the four-minute "Simpsons" short that precedes it.

Dorff and Fanning are perfect in their roles, and Coppola captures the draining narcissism of celebrity culture with the understanding of someone who"s witnessed it all her life.

Sometimes these characters say things worth hearing. But too often, and in contrast to her first feature, "Me and You and Everyone We Know," July's calculated delivery doesn't reveal the profundity required to elevate it beyond a self-conscious deadpan.

Like a mango rotting in the sun, Frank Flowers' squishy Caribbean thriller has been sitting on the shelf long enough to attract suspicion. Bite into it at your own risk.

It often feels as if the filmmakers expect us to be equally seduced by Ruby's wide-eyed winsomeness. That's a shame, as we can sense the deeper film beneath the surface. Because Ruby remains conceptual, this ambitious project lacks the dimension of the similarly meta-minded Charlie Kaufman projects that apparently inspired it.

If ever a movie could convince the masses to don communal shoes, this is the one.