Elizabeth Weitzman

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

Wahlberg is surprisingly committed to the ridiculousness.

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

Almada steadfastly reserves judgment, which means we don't learn if there are members of the Mexican community who disapprove of corrido's hard-edged lyrics. But she makes a pretty good case for its passionate fans. Like them, we're left unable to get the music - and the musicians - out of our heads.

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

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.

It's a must for those who like thrills laced with a sense of humor.

Lovell’s intimate connection to the subject forms the basis of the film’s power, which rests on a palpable pride in sisterhood.

What makes the film feel genuine, however, are the performances.

Her story (Ganatra) -- and the rest of the gifted, multicultural cast that brings it to life -- represents another step in the evolving face of film.

The real highlight is watching the dancers as they progress from their first, tentative improvisations to the final, complex performance.

Streep is the most important ingredient in this recipe.

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

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

Likable Lohan doesn't exude the vulnerability that would give the movie true heart, and Fey, head writer for "Saturday Night Live," crafts better punch lines than plots.

There are a few clever moments, as when an Amish farmer saves the tech-savvy students. But mostly, we're in it for the gore.

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

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

The many riveting moments will stay with you for days, and Padilla is well up to the task of carrying this intense story on his tiny shoulders.

The most extraordinary thing about Me You Them is that no one behaves as though anything remotely out of the ordinary is going on.

Turns the dangerous monotony of poverty and unemployment into something nearly hypnotic.

The setting and themes are pure Loach, and he’s handled comic scenarios with skill before. But he and his longtime screenwriter, Paul Laverty, have added a lighthearted buoyancy — enhanced by a spirited if obvious soundtrack — that might lead some to call this a feel-good crowd-pleaser.

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

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.

Bajestani is believably repellent as someone whose split lives as an obsessive loner and respected family man are disturbingly concordant. And Nadim Carlsen’s gritty camerawork pushes the film’s sense of grim social realism further still, providing a viscerally authentic horror. Abbasi doesn’t seem to realize, though, that he’s creating much of that horror himself.

Carefully walks the fine line between paying homage to a classic and entertaining a modern audience.

Rickards tries hard in a difficult role and Greg Germann offers nice support as an empathetic neighbor. But like her character, it's Broderick who keeps things from falling apart.

Jeffrey McHale’s feature debut, the Showgirls appreciation documentary “You Don’t Nomi,” works awfully hard to justify both its subject and its mission. But if you instantly appreciated the cleverness of its title, you’ll enjoy commiserating with fellow travelers.

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

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

I’ll take messy, daring creativity like Gordon-Levitt’s over a formulaic fantasy any day.

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

As the world's most chipper recovering coma patient, McAdams is a beautiful blank. There's not a single moment when her character feels real, or as if she genuinely has anything at stake. So it's a good thing Tatum steps up to add a little depth to this unabashedly lightweight venture.

Burman tends to focus very tightly on the details of individual identity - religion, nationality, gender. It is all the more striking, then, that his restrained and unassuming films are wise enough to speak to every adult.

Very likely the most fun your family will have this month.

Although it often feels more like a promotional tool than an objective documentary, there is no denying the emotional resonance propelling Matt Ruskin's first feature.

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.

Doesn't probe quite as deeply as it should.

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

To Devlin's great credit, he keeps us rapt throughout.

Americans, for better or worse, have already seen plenty of budget-busting action flicks with half-baked political pretensions.

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.

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

There's a certain morbid fascination, and perverse humor, in watching grown men enthusiastically turn themselves into human cartoons. (For better or worse, these guys are their generation's Stooges.)

This sympathetic documentary chronicles her decision to come out, which required a battle plan as extensive as the ones applied to the rest of her career.

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.

In an era of anti-immigrant fervor, this sobering and much-needed look at Latino migration is built on an undeniably optimistic premise: that once Americans have accurate facts, "they rarely allow injustices to stand."

A sensitive drama that marks a notably personal feature debut.

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

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.

A good-natured and highly enjoyable goof.

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.

Hill’s made an unabashed love letter to a particular decade, sure, but also to a specific moment in everyone’s life. And while he undercuts his own movie by romanticizing even the most extreme experiences of lost innocence, the purity of Stevie’s longing makes the movie’s wistful fantasy understandable.

As complex as its subject's life and - like her - both flawed and fascinating.

Clearly intended as a reminder that one person can move - or, at least, save - mountains.

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.

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

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

With the film's hypnotic emphasis on artistry and architecture, most viewers will probably get their satisfaction from the striking visual elements, particularly the stop-motion animation.

Best of all is newcomer Connell, the kind of charismatic kid who would have been cast in "Freaks and Geeks" ten years ago.

Straightforward and immensely powerful, the movie offers a blunt assessment of the war from soldiers currently fighting it, and their perspective is not pretty.

The movie is mildly notorious for a (relatively chaste) scene in which Radcliffe's character loses his virginity. But if you're looking to watch this former child star grownup, track down his classic guest turn on TV's "Extras" instead.

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

Given that fundamentalist faith and sober logic are irreconcilable enemies, though, Baer's analysis inevitably leads to a grim roadblock, at which he can do little more than tally the toll.

What’s most surprising is that this talky dramedy was a massive smash at home in France, outearning blockbusters like “The Avengers.”

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

The kids will love it. And actually, you might, too.

Panayotopoulou does handle the material with sensitivity, but she relies too much on her young hero's unlikely precocity, which unwittingly diminishes the intensity of a child's very real grief.

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

It won't change anyone's world, but it'll keep kids happy - and cool - for a couple of hours.

The efforts of Beavan's clan are so extreme that they spark some interest, but their environmental commitment feels a bit too self-serving to have the impact that's clearly desired.

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

There were a lot of people who came to regret investing their time and money in Park's brash dream. You won't be one of them.

Some consider Leigh Bowery a visionary performance artist. Others will see a selfindulgent narcissist. You may want to decide for yourself.

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

A meandering, amusing trifle, Werner Herzog's latest film is as cheekily flaky as his recent "Grizzly Man" was sharply down-to-earth.

Just when it seems he's left himself with no way out, he comes up with a finish guaranteed to leave you breathless.

There simply isn’t enough here to sustain an entire movie.

Bednarczyk's natural instincts put most programmed Hollywood moppets to shame, and the quietly affecting O'Keefe shows genuine talent.

Given that his subjects are so inspiring, surely Levy could have spiced up his storytelling with a bit more creativity.

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

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

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.

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

The opera's story -- about a Chinese princess who rejects all her suitors -- is never even fully explained.

It's the subject himself, still brimming with passion in his 80s, who provides the most inspiring moments.

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

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.

It's always a pleasure to find a family film that respects its audience all the way up the line.

The 3-D format is mostly wasted, and the production so slick we never truly feel like part of that screaming audience. For fans only.

It's no easy trick to invite viewers into an utterly bleak setting populated by the dissatisfied and small-minded. But a droll script and generally deft direction make the Icelandic chill surprisingly inviting.

Intermittently compelling biography.

There are plenty of truths to be found in Last Flag Flying, and a great deal of sincerity as well. But regrettably, there is not much in the way of understatement.

It's not a pretty picture, but it sure is a compelling one.

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

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

A listless thriller that can’t find its footing, Abandoned does occasionally rouse itself enough to suggest a better movie that never comes to pass.

Visually arresting but thematically uneven, Gerardo Naranjo's fictional snapshot of a gritty Mexican beach is simply too desperate to shock us.

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

Unfortunately, Bate saddles his otherwise compelling chronicle with awkward re-creations and an aggressively overbearing narration.

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.

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

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

Both a witty ode to and a poignant lament for the choices we make.

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

As intriguing and unusual as its title, this anime debut from CGI mastermind Michael Arias bursts with enough ideas for three movies.

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

The truth about Lies is that it's a case of art-house porn being more porn than art.

Scurlock barely acknowledges the logical reality of any credit card transaction: If you choose to buy something, you will have to pay for it eventually.

Intermittently compelling drama.

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.

Sweet it is. Remotely connected to real life, however, it is not.

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

While the series is smart enough to have inspired an army of adult fans, too little of its droll intelligence is on view here. Instead, the film feels like a rote effort made for some quick box-office bucks.

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?

Chico Colvard's tragic documentary is blunt and rather artless, but it does make for impactful, and deeply disturbing, viewing.

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

The filmmakers’ connection to the material is always palpable and undeniably affecting.

Despite the overwrought plot and unabashed pretension, there's something admirable about the fact that Coppola clearly made this movie for himself. But he shouldn't be surprised if few others join him in watching it.

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.

The film nearly drowns in earnest morality.

Mostly admirable for its ambition, which often feels nearly endless – as, alas, does the film itself.

The press notes for Stop-Zemlia call Kateryna Gornostai’s coming-of-age story “radical, authentic, and sensitive.” The latter two descriptors are accurate. The movie’s power, however, comes not from any radicalism but from how authentically ordinary it feels.

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

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

The Phantom of the Open tries so hard to be a winking commentary on British heartwarmers about lovable outsiders. And its efforts are, as often as not, entertaining. But after a while, it becomes clear that what it wants more than anything is to be embraced as a crowd-pleasing comedy itself.

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

Don't you expect any hand-holding, either. Director David Yates throws us straight into Harry's waking nightmare, as he searches for a way to defeat Lord Voldemort (Ralph Fiennes) while keeping himself and his friends alive.

The charismatic young women who populate Daniel Peddle's illuminating documentary are vibrant proof that there's still an untold story waiting around every New York City corner.

"War" is depressingly mean-spirited.

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

Filmmakers Vardit Bilu and Dalia Hagar don't seem as interested in taking sides as they do in exploring universal themes.

Some of the accusations feel more sordid than satisfying.

Though it starts out as amusing satire, the jokes become as neurotic as Dallas' female population, and the film spins out of control in every way.

With few laughs and no real poignancy, the movie's success rests squarely on Adam's oft-naked shoulders.

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

This is as essential a historical document as you could ever hope to find. It should be considered required viewing for every American who has the slightest interest in our nation’s history, politics, or culture. And, come to think of it, also for those who don’t.

Dance aficionados are the most obvious audience for this stirring chronicle, but anyone should to be able to find inspiration in Halprin's strikingly open-minded outlook.

The whole thing burns out well before the director reaches his ­final destination.

Very few actual mothers will appreciate the manipulative ending, which even a child could spot coming an hour away.

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

There's a good little psychological thriller buried underneath all the manufactured shocks, in the story of a powerless child standing alone against a parent's mental illness.

It's hard to remain unmoved by Kang's deeply heartfelt homage to his nation's past.

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

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.

There are some heartbreaking moments here, from the reactions of recent amputees to the tearful doctors and nurses trying hard to remain professional. And there is no question that Sanders has discovered a worthy subject. He just hasn't found the right way to approach it.

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

Dives into the brutal heart of a place most people would avoid at all cost.

Most of the family films churned out today are so junky it's almost a shock to find one in which the animals never spout sassy one-liners, or show off their hilarious hip-hop moves.

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

Very little actually happens, since most of the time Mr. Shi sits alone in Yilan's empty apartment, wondering how to help her. But there's a gentle beauty in these long, anguished silences, and Wang and his actors make the most of it.

Sticking closely to formula, Disney delivers a sweet script and charming storybook backgrounds, with serviceable, if sappy, songs from Carly Simon.

A well-shot but generically dull disappointment.

Fortunately, Tushinski strikes the right balance throughout, interspersing old erotic photos and stills from Berlin's adult films with entertaining, current-day sound bites.

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

Music lovers will appreciate both the score and the nostalgic end credits, which revisit the early years of the aged supporting cast (many of whom were actual musicians).

The inspector general is an interesting figure, and the images of criminals sobbing over their newfound inner peace are certainly memorable.

Aside from Scott, only Liev Schreiber - as an aging competitor - manages to steady the frenetic swirl. Whenever the two of them are together, Goon stops skating around in circles, and matures into the funny, surprisingly touching movie it wants to be.

Bombshell is overpacked and unwieldy and often disconnected. There’s so much going on that no character gets the time she deserves.

Rarely has Paris seemed more enchanting than in Danièle Thompson's optimistic ode to Gallic romance.

A curse would be a great improvement on the wishy-washy wickedness of this movie.

A fan's dream, A.J. Schnack's worshipful documentary about the musical duo They Might Be Giants does a nice job reflecting the thoughtful, quirky sensibility of its subjects' songs. Just don't expect to learn much about the guys themselves.

Though buoyed by excellent, unflinching performances, this melancholy drama reflects the dismally monotonous lives of its subjects just a little too well.

Some stories are more compellingly told than others, but all, like Trank's film, are deserving of attention.

Thought-provoking, but not quite as profound as it pretends to be.

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.

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.

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

How do films this stale and generic continue to get made, let alone with topflight talent? Cedric has been stealing scenes from bigger names for nearly a decade; he deserves better than a few amusingly-improvised minutes at the end of his own movie. And so do we.

Both Adams and Judd have been let down by Hollywood. Here they have the freedom to express their uniquely Southern takes on music, faith, family and femininity. This intensely personal film may not bring either of them widespread acclaim, but it's a small triumph nonetheless.

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

A crushingly dark vision of male rage and female vulnerability, Hélène Angel's accomplished first feature hits you like an anvil -- after it's all over.

It’s nice to see these characters again. But there’s an uncomfortable strain of bitterness running through the nostalgia. Klapisch is, for example, much kinder to his good-natured leading man than any of the ladies, who are by turns cruel, flaky and dishonest.

A fascinating capsule of an era long past.

The book itself is an easy read -- conveniently enough, it shouldn't take you more than two hours. So you might want to skip the discordant copy, and use that time to discover the real thing.

The film does look beautiful, and there's enough intrigue to inspire anyone to learn more about such a complex, fascinating life. It just would have been nice to see a little more of that complexity onscreen.

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

As is often the case with Toback's films, even as you're shaking your head at his shameless self-indulgence, you can't help but keep on watching.

Freida Lee Mock's adulatory portrait makes for pleasant viewing - but should it?

Instructive but aggressively biased liberal history lesson.

Writer/director Mona Achache adapts Muriel Barbery's novel, "The Elegance of the Hedgehog," loosely but skillfully, creating an intimate portrait that resounds with empathy. Comedy and tragedy are given equal respect, and even the quietest souls are valued.

Meticulous staging and Piccoli's world-weary presence balance any silliness, making the issues here feel relevant and real. The method is not pointed political satire but gentle enlightenment.

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.

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.

Enlightening and rather unsettling documentary.

This uneven directorial debut from Jen McGowan is notable mostly for a nicely understated turn from Juliette Lewis.

Once Alverson has ensured that his subtext has been absorbed, he seems uncertain about where to go next.

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

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

Both enchantingly old-fashioned and daringly modern.

Characteristically lacking in narrative -- but what it misses in traditional plot devices, it more than makes up for in passion.

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

While the lessons are light and the road well-worn, our perfectly mismatched travelers make the journey worthwhile.

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.

Designed as their own entity, the brief subtitles convey so little that to get the full experience you won't only need to understand Godard's language. You'll also have to speak French.

One of the subjects of To the End notes that she wants to “speak things into existence.” It’s a painfully poignant wish, representative of the blend of optimism, desperation, and determination that powers the entire film.

Anyone looking for something original or unexpected should check out the trio of short films that comprise this entertaining ode to the titular city.

Terruso has put most of her focus into the script and central performances, relying on minimalist production design and an indie rock and hip-hop soundtrack (Kil the Giant, Flipbois) that blend in rather than stand out.

So unfocused we never get to know the man behind the gowns.

For a film expressly about an underappreciated culture, there are some boulder-size cliches rolling down these hills.

Thirteen-year-old boys big enough to sneak into R-rated movies are presumably the prime audience for this witless comedy from the Broken Lizard troupe.

So after about an hour of watching four children eat, bathe and crawl, you might start to wonder why you've paid to see somebody else's home movies.

This Grimm-influenced fairy tale has a contemporary twist and the best of intentions, and that's about all there is to say for it.

The real problem is that no one involved seems to realize that their heroine is, in fact, an antiheroine. Had the movie gone all-in on Peg’s amorality, we might have had a more interesting project.

The intriguing elements never quite coalesce into a consequential whole; we leave this yuppie nightmare feeling both unsettled and unsatisfied.

Bogged down by a lazy script and underwhelming performances. Fortunately, there's no hiding his jubilant passion for ritual and symmetry, which makes each perfectly choreographed band scene a genuine thrill to watch.

It's not giving too much away to note that we've seen a lot of this before, in classic noir and postnoir films, though to name those films would spoil things.

A powerful drama that turns a common event -- the rending of a family -- into an intimate, personal affair.

Though he doesn't break any new documentary ground, Lee knows how to shoot his subjects. Their stories are moving, and their moves are thrilling.

Sedgwick and Bacon are visibly delighted to be together, and we buy Cynthia and Stan’s connection even when it feels underwritten.

All we’re left with is the sight of older men hiring a gorgeous young woman to take her clothes off and fulfill their desires. If nothing else, Ozon does leave us wondering whether he intended such an uncomfortable parallel between life and art.

A lovely, almost painfully intimate story of female bonding that never panders to its characters or its audience.

Like its troubled protagonists, Mark Milgard's ultra-sensitive ode to adolescent angst is equal parts earnest and awkward. Should you happen to be a 15-year-old girl, you'll adore it.

Because Albertina Carri spends so much time skirting relevant issues, her self-consciously experimental examination into her parents' murder feels like a worthy movie that simply wasn't ready to be made.

In Cheap Thrills, a committed cast elevates what is, ultimately, a gimmicky thriller. It dissolves into a puddle of blood-tinged hypocrisy.

Battleground does serve as an excellent primer on the political and practical positions of both sides. But the biggest takeaway of this disconcerting documentary may come from pro-choice activist Sam Blakely, who insists that “we have to stop playing defense, and start playing offense.” Hope, it turns out, is no kind of strategy at all.

Despite the obvious cultural differences, what we come away with is a surprising sense of familiarity. Not even the widest political chasms, Gordon finds, can eradicate the universal pleasure of a young girl's giggle.

A fairly average movie about a very unusual child, Vitus does have an earnest charm.

Gets it right in every dance sequence, but stumbles badly whenever the characters step offstage.

The film's structure is so boldly conceived it seems unfair to focus on flaws. But the central problem is undeniable: There is no chemistry whatsoever between the leads.

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.

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.

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

Marks and Liberato are a delight, equally appealing on their own and total #FriendshipGoals together. The two are close in real life and the strength of their chemistry is, ultimately, what makes the movie so special.

Melancholy 16-year-olds are the ideal audience for It's Kind of a Funny Story, which actually feels as though it were made by an especially precocious adolescent.

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

Fortunately, this sprawling epic is well-anchored. There cannot be a better big-screen showman than Jackman.

Works on two levels: Goldfinger does a terrific job exploring the broader history of Yiddish theater, while also homing in on the compelling story of the Burstein family itself.

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

Think you're too tough for a sentimental comeback story? Well, a few minutes with Rocky Balboa might just knock the cynic out of you.

It’s almost painful to watch the immense promise of The Congress, Ari Folman’s spectacularly ambitious experiment, dissipate into nothing.

Broomfield conducts riveting interviews with a former LAPD officer, Biggie's fiercely protective mother and assorted hangers-on, but the actual thrust of his evidence seems almost irrelevant.

Nunez's fans will appreciate his ability to evoke a palpable atmosphere. But there's just not enough spark in his scorched setting.

A funny and insightful exploration into identity issues we all can recognize.

Cahill deserves major credit for keeping the story from becoming mawkish or twee. He was also wise enough to realize it's Douglas' show, and as soon as he steps into the frame, you'll know it, too.

The heavy subject is tempered with gentle humor.

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

Actors do an excellent job portraying young people struggling with an almost manic paranoia.

The author of "Naked Lunch" and his words were funny, freaky and sometimes just Out There. Yet as "there" became "here," Leyser shows, Burroughs seemed to be everywhere.

It's left to the ideally cast McDormand to keep everything on track and, as expected, she weathers every tonal change with competence, confidence and a perfectly stiff upper lip.

Hanks is extremely understated, but his passivity works: as the son of a superstar, he may have realized that Troy’s role is simply to observe and reflect his boss’s glory.

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

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

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.

Perhaps simply discovering a film so dedicated to a different perspective is adventure enough.

Just when you think it's a violent drama, it turns into a comic road picture, before finally becoming a tender romance.

An excellent Keener commits reliably to the role and does give us moments worth savoring. But the underwritten script and misguided direction leave her stranded.

It's certainly been a while since we've seen a movie this resolutely old-fashioned. But while the script feels a little stiff and moralistic at times, it's hard to fault a film with such an intelligent, good-hearted heroine.

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?

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

So yes, you'll roll your eyes when the coach defies Papale's naysayers by insisting that "he has heart." But if there's a single surprise on this familiar field, it's that the movie does, too.

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

The movie's 85 minutes speed merrily along on a steady stream of outrageous antics, entertaining performances from seasoned pros (like John Witherspoon, as Craig's dyspeptic dad), and unforgettable introductions to new talent.

Directors Adi Barash and Ruth Shatz do a brilliant job of letting the South African, Israeli, Cuban and Namibian men aboard speak for themselves.

There are a few funny jokes scattered throughout, but the halfhearted direction and clunky script are underscored by performances that feel like they belong in community theater.

While Cera is charming enough to keep us watching, he's never allowed to cut loose -- even though that's supposed to be the whole point of the movie.

You'll need a strong stomach, but director Christopher Smith mixes lots of laughs into the gore. Despite its predictable finish, Severance is bloody good fun.

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.

A world designed for children, and most of the grownups involved don't quite understand it - on or offscreen.

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.

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.

A surprisingly adult exploration of religion refracted, as always, through (Smith's) insistently pop-culture kaleidoscope.

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

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.

The real culprit is first-time director Marcel Langenegger, who seems to have studied for his debut by watching nothing but Cinemax. The score hints at ominous activities that never happen, a rain machine provides the only atmosphere and the actors have to suffer through the silliest sex scenes in recent memory.

Based on the last book in Phyllis Reynolds Naylor's award-winning trilogy, this third installment in the family-friendly "Shiloh" series is perfect for anyone who wishes "The Waltons" was still around.

An evocative melancholy hangs over Princesa, Henrique Goldman's intermittently affecting tale.

Built on the most basic (though quite charming) animation, songs and plots, the film does have an inescapably straight-to-video feel.

Ultimately the movie asks a lot of us, while simultaneously withholding too much. The concept remains compelling, but the execution both figuratively and literally falls flat.

What most interests the directors is the way young minds are shaped by adults with clear moral and political agendas.

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

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

What's most notable about this aggressively cynical project is how much talent it wastes.

Brooklyn has never looked lovelier than in Holder's soulful debut.

Both the humor and horror are as broad as the side of the Oldfields' barn, but King and the cast are clearly having fun.

Knightley does fine work, but she’s been miscast. Her innate sophistication undermines the movie’s intentions right off the bat. We never believe her as Greta.

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

The spirit of the series remains true: cheerfully random jokes, blink-and-you’ll-miss-them references and, above all, a silly, stubbornly sentimental streak that only the crabbiest cynic could dismiss.

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.

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.

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

The result is a highly amusing folly, rendered with a surprisingly gentle affection.

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.

Curious George has long been a bedtime staple, but this animated film version may be the first time his story puts parents to sleep.

Though the director takes a thoughtful approach to the material, mixing humor and poignancy, he undercuts our sympathy considerably by dragging things out to an inexplicably indulgent degree.

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

It’s so much fun you may want to put a few bucks aside for a sequel.

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

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

Unfortunately, Wendeers frustrated wake-up call quickly buckles under the heavy burden of its earnest message.

The plot is as riddled with holes as Matilda's victims, making her sudden appearances more distracting than distressing.

As good as Nolte is, the relatively unknown Morgan matches him scene for scene. And he's not the only impressive newcomer. Remarkably, this confident indie is the first feature from writer-director Ponsoldt, who shuns any slickness to embrace the rough edges of his low-budget, bare-bones story.

Beautiful, witty and provocative, this is one genre film that ought to appeal to fans and non-fans alike.

While this paranoid thriller is overly familiar, it's still plenty unsettling.

Once again, we chart the growth of a woman and a country at the same time, a tough assignment that Harper tackles with humor and passion (even if her Kissinger impersonation could use a little work).