Elizabeth Weitzman

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

When Kikijuro goes soft, the film falls apart, with him becoming a slapstick clown, mugging shamelessly to entertain Masao and the audience.

While Fay Grim is too uneven to win Hartley many converts, it is laced with enough intelligence and wit to remind longtime fans why they were drawn to his unique vision in the first place.

In performance, Earle comes across as a successor to Woody Guthrie or Johnny Cash. In this fawning portrait, however, he seems more like music's Michael Moore.

This sci-fi fantasy doesn't exactly make sense, but it sure looks cool.

The problem is, Shiva found so many inspirational moments that she wasn't able to edit them into proper focus. As a result, the movie jumps from scene to scene, too scattered to make a strong connection with anything, or anyone, in particular.

Genuinely touching and unquestionably sincere, the movie certainly has heart - but it could have used a little more game.

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.

A likable, if somewhat earnest, exploration of cultural identity.

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

Ultimately, Dance is unable to connect the many threads of his rather flimsy script, leading to an abrupt and somewhat unsatisfying conclusion. But the journey is worth taking, thanks to the company of its stars.

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.

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.

To her credit, director Martha Coolidge has crafted a fairy-tale ending that is both old-fashioned and newfangled, allowing her heroine to have it all. But despite a few magic moments, the rest of the film feels stale.

The leaden bits do bring the proceedings to a screeching halt too many times, but the costumes are breathtaking, and the details (like color-coordinated martinis) are dazzling.

This is a reasonable choice for bored tweens - as long as they don't demand too much magic from their movies.

There is a great movie in Werner Herzog's Vietnam saga, Rescue Dawn. Unfortunately, it's about 30 minutes long.

Maggio and his stars find some unexpected truths in a familiar tale.

A disquieting, and somewhat disjointed, call to arms, Theodore Braun's heartfelt documentary is undeniably important. But it may not be quite focused enough to ignite the passion he so clearly wants his audience to feel.

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.

This is an insider's tour - the uninitiated are, frankly, not likely to be converted.

Day's primary mistake is an occasional attempt to get serious. With a deft comic touch and a topic that's still timely, he doesn't need to play it straight.

All the full-blown wackiness turns a rather sweet movie into one that's decidedly overripe.

Green's aggressively whimsical autobiography, which he narrates entirely in rhyme, will challenge all but the most open-minded audiences.

Starts out as fresh as your popcorn, but turns stale before you finish it.

Coming from a big shot like Levinson, An Everlasting Piece feels like a gently amusing but undeniably minor diversion that, for whatever reason, needed to be gotten out of his system.

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

The performances are impeccable, but while director Joachim Lafosse carefully creates an atmosphere of suffocating dread, he could have let a little more air into this simmering hothouse.

Looking for plot holes? You can't miss them. But if you go in hoping for a good time, you'll find that, too.

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.

Not a single moment of creativity or intrigue is to be found in the big-screen debut of the Disney Channel's most popular sitcom character.

There are too many familiar faces in this story, from kindhearted whores to street-urchin bullies. But even if circumstances edge toward the unlikely, Kravchuk and Spiridonov make an effective team, exploring the realities that lead to so much heartbreak for so many children.

There's little to enjoy in this unsettling tale, but Doillan's unblinking depiction of manipulation and desperation stays with you long after the characters make the deals that seal their unjust fates.

Feeling very much like it is meant to educate students who don't understand the ruling's relevance, "Speed" doesn't boast much in the way of innovative storytelling. What it does offer is a story that still badly needs to be told.

Despite the spectacularly cool opening credits and some first-rate animation, the story starts to flag about halfway through.

It's a decent Valentine's date-night flick, and should earn Reynolds the attention he'll need to snare stronger leading roles.

Actors Trevor Wright and Brad Rowe are good enough to turn a formulaic coming-out tale into a sweet romance.

The old footage is definitely compelling, but once Moss trains his focus on the quotidian present, the movie takes on too much water to stay afloat.

Although the period feeling is convincing, Forman doesn't seem to know exactly what he wants to say about this intensely complex era - and that leaves his cast floundering.

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

There's plenty of passion beneath this movie's unadorned surface.

Dayan's weakly structured biopic Cet Amour-là is, to be kind, less than inspired. But as a showcase for legendary French actress Jeanne Moreau, it's a tour de force.

Though intermittently shrill, Shopping does have enough moments of insight to blunt charges of sexist stereotyping.

Though it's ultimately rather heavy-handed, this drama about an Iranian-American family is heartfelt and topical.

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.

Will Rugrats fans love it -- Wee, we -- er, oui, oui.

Gram Parsons' last rites were among the most extra­ordinary in rock history. Too bad this retelling of the singer's final adventure is so tame.

The parts are more valuable than the whole in Angelina Maccarone's Unveiled.

While Shelly's stylized vision and sentimental intentions don't always gel, they do result in a warm, often charming fantasy.

Even when their picture wanders from any reasonable path, it's never less than stunning to look at.

No matter how silly the situation, each member of the uniformly strong cast creates a nice balance between sentimental and sweet - which is just how every holiday gathering should feel.

The film's only dialogue is composed of Young's songs lip-synched and acted out by the cast. This makes for a very literal, somewhat stilted experience.

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

Simpson and Yates give a good idea why individuals are drawn to extreme sports.

Fanning and Russell are a perfect, sweet-and-sour pair. And, of course, the horse is absolutely beautiful - which, in the end, is what this all comes down to, anyway.

While Duff is fairly flavorless, Muniz proves that four seasons of "Malcolm" have made him a pro at navigating surreal silliness. Even when the script fails him, his well-honed instincts save the day.

Sadr-Ameli's unflagging empathy and Alidousti's confident performance keep us rooting for this young heroine, who refuses to accept the limits forced upon her by both society and the law.

This is compelling stuff, but Jones seems almost pathologically averse to upstaging the songs themselves.

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

Though a bit long and occasionally ­awkward, this drama ultimately does ­justice to its inspiration - the true-life tale of boxer-turned-transsexual Nong Toom.

It clearly wants to be more, but it's failed by its lightweight leads.

With the exception of one truly glorious dance solo, the movie treats its hero - and his equally uncool family - with undisguised disdain.

Lovett's history is heavy on hedonism, but he does deliver a succinct perspective on this celebratory era - between the sad bookends of repression and loss.

There's enough affection and insight here to make Lee's next movie worth watching for.

So desperately eager to please: Gaudreault doesn't offer much in the way of wit or originality, but he's determined to win us over with sheer enthusiasm.

Given the subject matter, the movie is almost fatally lacking in passion.

There's nothing here for kids, or, for that matter, anyone who claims to be an adult. But if the title makes perfect sense to you, the movie probably will, too.

Doesn't probe quite as deeply as it should.

It's unabashedly derivative and spooky enough to keep you up at night.

Unremittingly explosive, Head-On is not an easy film to watch. It is, however, a memorable one.

A passable, but entirely uninspired "Spy Kids" wanna-be.

Although the movie is not as hilarious as you'd hope from the screwball setup, Gainsbourg and Attal make a solid comedy team.

Other than a few witty jokes and a game cast, there's nothing particularly special here.

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.

Offers moments of striking insight amid the inevitable self-indulgence.

The movie's power comes less from its contrived story than everything else: the stark setting, chaotic energy and authentic cast.

Reygadas is clearly out to shock us, to shake us and show us a host of furious ideas about class, gender, religion, nationality, love - really, there's very little he doesn't throw into this thickly ambiguous stew. If only he hadn't made his deliberately confusing, heavily symbolic story quite so difficult to digest.

Most of the supporting cast (including Daphne Rubin-Vega and Michael Jai White) underwhelms. Still, Palladino is a strong lead, and there's no denying the film's emotional core.

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

Despite its problems, there's a touching sweetness at the heart of Nancy Savoca's intimate family drama about estranged sisters trying to reconnect.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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."

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

The script relies on too many unlikely twists, but Bleibtreu manages to sell them all.

There are certain films - let's call them Road Map Movies - that drive you directly from point A to point B to point C, with barely a stop for gas. Cadillac Records is such a film: You see all the major landmarks, but how enlightening can a road trip be if you never even get off the highway?

The filmmakers' motivation couldn't be clearer: They needed to capture a way of life that may soon exist only on film and in memory.

Avila has a tough task, visualizing violent and complicated events through a child's eyes. The calmer scenes are staged in staid and somewhat clunky fashion, but the graphic animation depicting the worst moments is starkly effective.

Fanning's Currie grabs the spotlight immediately, and never lets go.

Quale has brought this anemic franchise back to life, with an unexpected infusion of humor and energy.

It's hard to complain about a pop culture phenomenon built on unabashed innocence. And anyway, we might as well get used to it: Neither the movie nor the passionate tween squeals at a recent preview leave any doubt that "HSM 4" is on its way - or that the inevitable "College Musical" will be far behind.

Sure, a lot of the dialogue is dopey, and the eternally stiff leads once again compete for blankest delivery. But Lin distracts us well, packing deftly-shot races, explosions, and getaways into every corner.

Built on dry one-liners, off-kilter timing and self-conscious nostalgia, The Kings of Summer seems expressly designed to delight quirk-loving Sundance audiences.

Burns has assembled such a fine cast that we leave feeling satisfied, as if we didn't get the iPad mini we wanted, but a pretty good novel instead.

Though the leads do fine work, their efforts often feel slightly futile. Despite a few flashes of the darker tone percolating under the surface, the movie remains too well-mannered to truly pull us in.

The persistent whimsy gets a bit wearisome, but it's hard to dismiss any film so determined to make us happy.

Every foul-mouthed joke [McCarthy] cracks, every unexpected physical gag she underplays, is so funny you forget how often we’ve seen this setup. Or, when it comes to women, how rarely.

Philip Roth turns 80 next week, and what better way to celebrate than to serve as the hero of his own story? It’s too bad, though, that this dully conventional biography doesn’t do justice to its subject.

Despite the hard lessons learned, King seems to have a pretty deep appreciation for Lyle and Nina’s drug of choice — and you’ll probably enjoy the movie a little more if you feel the same. Just think twice if you’re planning to sneak some homemade brownies into the theater when you see it.

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

David Kaplan's sweet, if superficial, fairy tale won't change the world, but it makes nice use of its setting (Chinatown) and visual style (rotoscope animation).

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.

There is enough here — including the gifted Arena’s barely believable backstory — to keep your head spinning.

It doesn’t all work: the religious iconography is too obvious, and the more lurid horror elements – like the obsessive fans who literally haunt Cam during his training – can be so heavy-handed they’re more silly than scary. What never falters, though, is Tipping’s avid commitment to his concept.

His first-person perspective is unexpectedly frank as he shares some extremely dark moments -- spurred by increasing anger and doubt -- that civilians rarely get to see.

If you watched "Project Runway's" first season and wondered what happened to winner Jay McCarroll, here's your chance to find out.

This isn’t the sort of movie that defines anyone’s career, as “Sling Blade” once did. But in an industry averse to risk, passion projects — even uneven ones — are always welcome.

Boasts an unusually strong cast of actors, who boost the slick screenplay into a satisfying popcorn picture.

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

The truth is, almost everyone planning to see Eclipse will know how things end before the opening credits even appear. So Slade and his cast can be proud that they consistently keep us involved anyway.

The fine cast pushes beyond the script’s limits, even if some, like Hope Davis as Ben’s mom, are mostly wasted.

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.

No, there’s nothing new here. But sometimes it’s enough to be merely entertained, rather than amazed.

Boote's ambitious goals include finding out how plastics are made and how they're messing with our bodies and our planet.

Alison Klayman's chronicle of Chinese artist and activist Ai Weiwei is so straightforward that one can't help wishing the subject would make his own, more complex cinematic self-portrait. But for now, Klayman has provided a valuable introduction to a man everyone should know.

This lovely, low-key debut from Aurora Guerrero doesn't aim to make any grand statements. It doesn't need to. The sweetness and sincerity Guerrero and her leads infuse into their intimate coming-of-age story is more than enough.

It's cute and funny and sweet, which - as any woman can attest - puts it way ahead of most Friday night options.

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.

Perry also spices things up with two of his most reliable fallbacks: music, and Madea. Having packed his cast with singers, he allows them all a moment to shine, with songs that deliver his patented lessons (trust in yourself, trust in others, trust in God).

The highlights, of course, are the competitions and duels, choreographed by Sammo Hung.

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.

What the movie lacks in depth it makes up for in surreal humor, and - just as he should - Gainsbourg look-alike Elmosnino seduces us effortlessly.

Scott, Winstead and Howard are charming, while Poehler, O’Hara and Jenkins have a grand time bickering. Since Zicherman doesn’t ask much of us in the first place, they make it easy enough to commit.

There are too many overwritten moments designed solely to make the movie more interesting -- when, in fact, they undercut the low-key relatability that serves as its strongest asset.

So be forewarned: What admirers will consider measured may read, to the unimpressed, as merely slow-moving.

It's one thing to sit on your couch watching football in HD. It's another to view one of literature's most enduring fantasies in the same manner. The experience that felt so breathtakingly cinematic in Jackson's "Lord of the Rings" series now seems frustratingly fake.

Is it possible to enjoy the company of the world's most irritating woman? Mike Leigh's surprisingly sunny dramedy makes a pretty good case that, in fact, it is.

The movie’s biggest strength is its balance between mordant humor and psychological fear.

Plimpton recorded many of these adventures in books that are well worth seeking out. But if you don’t have enough time to do so, Bean and Poling have assembled a delightful cheat sheet.

To maximize your entertainment budget, look no further.

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

A charming coming-of-age drama.

There are plenty of outrageous characters, several surfing celebrities and a few truly compelling stories.

Don't misunderstand: the proceedings are pretty silly, and the scares were a lot fresher back in 1979, when we first saw "The Amityville Horror." But Cornwell and his cast take things just seriously enough to keep us at least intermittently on edge.

The reason this franchise has been so successful - both on film and in Ann Brashares' original novels - is that, just like the jeans, it suits the needs of vastly different girls.

When Anderson allows the experts - or simply those most deeply impacted by the changes - to speak, the film has a powerful urgency.

And now, just as Bella Swan (Stewart) embraces her own eternal power, Breaking Dawn, Part 2 expands with a full intensity of force, stronger and more epic than the films that led to this impactful finale.

This is an unashamedly old-fashioned children's movie, and a predictable message is part of the mission. But that's okay; what the movie lacks in surprises, it makes up for in whimsical fun.

This material could so easily have tipped over into false sentimentality, but everyone works with a steady hand. Rebecca Thomas makes an assured debut as both writer and director, the gifted Culkin is excellent as always, and Garner finds lovely shades of nuance in Rachel’s innocent faith.

Much is left undeveloped, from Jane's ghostly anxieties to Rochester's evolving complexity. Wasikowska and Fassbender lack chemistry, and the latter never finds his character's depth.

It's hard not to wonder if Press might have offered a similarly impactful portrait in a more concise manner.

Grohl has a longstanding reputation as one of the nicest guys in rock. So it should come as no surprise that this may be the most positive music documentary you'll ever see.

Roth prefers sentimentality to subtlety and cutesiness to complexity. Fortunately, Molina balances Port's precocity, bringing a welcome gravitas to this simply told tale.

Those who've read and loved the book should be satisfied, but it's reasonable to hope for more from the final entry.

With costumes taking precedence over character, the movie ultimately seems more concerned with atmosphere than action.

Why does the movie waste so much time on empty adoration from celebrity fans and skim past the significant tragedies that contributed to her complex life? Parental neglect, sexual assault, severe mental illness — all of these factors shaped the woman Page became. But perhaps even today, no one wants to consider the sadness behind her 1,000-watt smile.

This is really the kind of movie that was made to be watched in a haze after midnight, at which point it would all, no doubt, make perfect sense.

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

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.

Looking for something unusual to see this weekend? Try this cool time capsule, which premiered in 1972 and then disappeared for decades.

It tends to get lost in its own delirium, which will enchant some and drive others bonkers.

He does accomplish his main task, to take us into places civilians rarely go, and give witness to the immense challenges soldiers like his brothers face every second they’re required to be at war.

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.

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.

We never really forget we're watching two highly paid professionals create a cinematic placebo, strong enough to entertain without making a long-term impact. Fortunately, everyone works just hard enough to sell us on the whole thing anyway.

It's no surprise that first-time director Scott Cohen is a nature photographer by trade: he's made one of the most gorgeous movies you'll see this year.

Those who arrive without any preconceptions — or are willing to stray from the novel’s style — will appreciate the assets of a modestly engaging and gently touching dramedy.

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.

Burton structures the film, right up to the fascinating finale, as both a damning tale of male privilege and a moving story of a woman’s liberation. The actors reflect these themes accordingly. Adams is touchingly restrained and Waltz is monstrously charismatic.

Anybody who missed 2006's excellent indie "The Puffy Chair" has another chance to discover the off-kilter world of the Duplass brothers.

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.

The movie wouldn’t stand for much of anything without such an effective team to represent the equivocating.

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.

You may admire Witherspoon’s solid performance, but you won’t forget you’re watching a star.

There's little difference between the first and second movies -- both written by Besson -- so the perfunctory story line will feel familiar to fans. But the action, and the head-spinning stunts of those agile lead actors, will never get old.

It's a tribute to Adrien Brody that Wrecked works as a modestly compelling thriller, since there's almost nothing to see but Brody himself.

Both director and cast exhibit the dedication of those who truly believe in the message at hand. But with so much earnestness onscreen, the message occasionally gets in the way of the movie itself.

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.

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

If you are a 12-year-old girl, you are the perfect audience for Monte Carlo.

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.

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.

This is not, frankly, a movie you'll remember long after you see it. But it has just enough moments of genuine intimacy to indicate that Masterson ought to give directing another try.

A popcorn movie has one goal, and that's to entertain. Immortals meets this criteria handily, and serves as a splendid spectacle besides.

Just as you need two hands to clap, explain frustrated young activists, the ­Dalai Lama requires a reasonable partner with whom to negotiate. And right now, it seems, the Tibetans may as well have their arms tied behind their backs.

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

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.

If "Saw V" offers an example of how little filmmakers can get away with, Splinter proves how much a director can do with next to nothing.

It’s not easy to play twins (in another language, no less), without relying on showy mannerisms to define them. But Mortensen pulls it off. Your move, Franco.

Better to stick with his slightly weird, ultra-focused nerds, who toil away on something strange and special, simply for the beauty of it.

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

The result would make an excellent inspirational video for aspiring players, but it's not quite ready for the pros.

It's big, bright, savvy, and so expansive you'll undoubtedly leave feeling you got your money's worth.

As for Ginsberg himself: Should we be more impressed that Radcliffe so confidently portrays an actual icon, or that he banishes all memories of the fictional one he’s portrayed before? Both accomplishments suggest that he’s got real talent, and a future that’s already taking him well past Harry Potter.

A rousing period drama with all the familiar trimmings: gorgeous costumes, palatial settings and romantic intrigue.

While "Twilight" will make more money and get more attention, the darkly comic Cirque du Freak boasts the shaggy charm of the natural underdog.

Enthusiasm carries the day in this paint-by-numbers period tale, which is just charming enough to coast on its own clichés.

There have been so many movies about aspiring superheroes in recent years, they practically constitute their own genre. Though hardly ground-breaking, this whimsical Australian entry is just endearing enough to stand out from the pack.

If you're the type who unwinds by watching "The Wire" or "Law & Order: SVU," you might appreciate this grim procedural drama from French actress Maïwenn. There's no denying its power: It took home the Jury Prize at Cannes last year. But for most, Polisse will be tough going.

Some of the shocks are way too broad, and the enclosed perspective suggests the material would better suit a play. But Crawford radiates charisma, and Pierce sells even the nuttiest moments.

Anyone with some patience and a penchant for thoughtful ambiguity will find more than enough rewards here, from Gyllenhaal’s intelligent performance to Colangelo’s empathetic insight. True, it’s not always an easy movie to sit through. But the impact of Lisa’s plight lingers long after her fate’s been sealed.

There are a select few artists who can take the same materials used by everyone else and create a masterpiece. Coco Chanel was one of them. Director Anne Fontaine is not.

For his directorial debut, Bateman returns to his bad-boy beginnings. And the results are predictably amusing.

The real reason to see the movie -- and it's reason enough -- is the trove of archival footage, which shows a star of almost impossible magnetism.

The script does boast a fair share of zingers, delivered with arch wit by a crack team of professionals.

To be sure, there are many reasons to see the film. The cinematography is memorably vibrant, and the performances are solid, even if they pass by too swiftly. Most of all, of course, the subject matter remains fascinating.

A heartfelt, bittersweet and often amusing portrait of early middle-age.

Best of all is the well-used West Village setting, which feels like the perfect backdrop for a slightly offbeat love story.

Miserable individuals do tend to make for interesting subject matter, and this would be far more of a dry biography without its willfully eccentric lead. Plus, if the crankiness gets to you, tune it out and focus on the music. That's what Clapton did.

The heart of the film is the touching relationship between two lonely souls. The lovely, feisty chemistry between Rowlands and Jackson will keep even the most cynical viewers on their toes.

While a delicate topic would seem to require a delicate touch, Wexler goes more for cheeky entertainment. To some degree, it works.

Hokey reenactments of the war years do the film no favors, but it’s worth sticking them out to witness a humanity that never could be faked.

Fans can be forgiven for offering this predictable indie some excess generosity, simply because writer-director Marshall Lewy had the good sense to build a movie around such a versatile lead.

So what we're left with is a sort of contact high, drifting gently over to our seats in the back row.

There’s little doubt that the obvious parallels between this dark coming-of-age drama and “To Kill a Mockingbird” are deliberate. But while they are undeniably overreaching, director Rufus Norris has adapted Daniel Clay’s young adult novel with a sensitivity that will appeal to teens and adults alike.

Like 2003's "Lizzie McGuire" movie, "Hannah" breaks little new ground but makes the big screen shift with liveliness and sense of humor impressively intact.

Tusk is alternately amusing, appalling and frustrating. It’s also unique.

As full-length toy advertisements go, you really couldn’t ask for more.

The movie’s shallow amusements do make for an ideal guilty pleasure, especially since the actors seem to be having so much fun. Bates, marching around like an overstuffed pigeon, is a reliable scene-stealer, while the two leads make an entirely convincing couple.

The most interesting threads aren't political but personal, with a melodramatic romance providing some well-earned tears. Your final thoughts, however, are likely to concern Jennifer Tilly, who's so bizarrely miscast as a severe missionary that her presence becomes its own distraction.

Predictable as the adventure may be, the company — and the countryside — make it worthwhile.

It’s an enjoyable ride with intermittently compelling moments, particularly when Buttigieg struggles to find the balance between innate personality, intellectual morality, and professional practicality. But the film simply doesn’t dig deep enough.

What Palmer is, in every sense of the word, is decent. It’s familiar, and predictable, and a little bit hokey. But it’s also genuinely moving and surprisingly memorable, thanks to its two leads.

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.

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.

Anthologies are risky. For every high point, there's often a misstep to match. But this indie compilation has enough inventive chills to interest any horror fan.

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

It's a formula, all right, but a strong cast goes a long way toward carrying it off. We get one, for the most part, in Alfredo De Villa's cheerfully familiar dramedy.

The scenery is stunning and the story compelling, but some viewers will find it easier to admire Tracks than to engage with this meditative tale of Robyn Davidson (played beautifully by Mia Wasikowska).

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

As its defiantly bland title suggests, Fighting is a bare-bones effort that tries just hard enough to keep us watching. By making good use of its New York setting, Montiel does bring a certain indie grit to the generic story.

Melodrama, romance and action are cheerfully jumbled together, so as long as you're ready to embrace the excess of swoony sentimentality, you'll get more than your money's worth.

Perhaps every generation gets the movie stars it deserves. “Olympus” has quite a bit to say about the current state of our country. Intentions aside, not all of it is entirely flattering.

He definitely needs more experience, but writer/director Jake Goldberger displays an appealingly skewed sense of humor in his noir debut.

What’s crucially missing, however, is a hissable villain. Nor are there any memorable tunes, which is too bad given that Broadway star Menzel is playing Elsa.

If someone else had made "My Son," it would be just another crime thriller based on a true story. But with Werner Herzog behind the camera, it's a head-scratcher from start to finish.

Understatement is one of Mark Wahlberg’s greatest assets. But that admirable trait winds up working against him in The Gambler, Rupert Wyatt’s otherwise intriguing dramatic thriller.

Despite the overlong running time, the action moves smoothly and swiftly.

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.

There's barely a frame that doesn't look stretched, smashed or otherwise harassed. Imagine "The Matrix" on speed, and you're halfway there.

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

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.

If you take The Alto Knights on its own terms – as an eccentric but engaging curio – there’s still plenty of fun to be had.

Perhaps it’s inevitable that the movie works best not while we’re watching fictional recreations, but when we see real footage or hear actual broadcasts.

Though the mumblecore esthetic is familiar and the movie's ultimate impact slight, the filmmakers do find a fresh and modestly amusing twist by tossing their hipster out of his natural habitat.

We never do find out what really went on behind the scenes of “Community.” But the delightful success of a charismatic loner like Crittenden could be considered one of Harmon’s greatest accomplishments.

Newcomers may be disappointed by such a slender effort, but fans of revered Iranian director Abbas Kiarostami will find plenty to appreciate in his observant followup to 2010’s acclaimed “Certified Copy.”

For her part, Lotz carries the load with such briskly efficient confidence, it's no surprise to learn that she's already got several more movies on the way.

Not much happens in Sandra Nettelbeck’s intimate family drama, but its well-drawn connections between lonely souls make an impact nonetheless.