Elizabeth Weitzman

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.

As for that title, neither character is Italian, but each thinks the other is - a weak device designed purely to inspire a slew of stereotypes.

Although Kutcher deserves some ­credit for trying to spread his professional wings, it quickly becomes clear that he's in over his head.

You may want to wait and watch "Never Land" the way it was meant to be seen -- as a straight-to-video baby-sitter.

Both Rossi and Charlotte Rampling, as the mother of another young patient, do fine work. But the only surprises come at the end, too late to move us the way they should.

Richman's no-nonsense approach, which relies heavily on interviews with the eloquent, 98-year-old Gruber, feels more suited to a televised biography.

Too many heartwarming comedies, especially those with mature leads, eventually expose themselves as cynical contrivances. The same could be said for some of the based-in-truth dramas that have started to feel inexorably churned out. In its affable sincerity, The Duke is both their opposite and their antidote, a feel-good entertainment for feel-bad times.

This is powerful stuff, offering us not only a new look at the past, but to the unavoidably relevant insights into the present.

A lazy attempt to snare some preadolescent allowance money, Sleepover earns little more than a few bored yawns.

Big Hero 6 was executive produced by Pixar guru John Lasseter. You can see the influence in the high quality, from the appealing 3D animation to the unusually sharp story and script (a cooperative effort credited to seven people).

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.

Director Ryan Murphy achieved a major casting coup in landing Julia Roberts to play Gilbert - or Liz, as she's called here. As it turns out, though, a lesser star may have been a better choice.

Every moment feels human and true, from the naive optimism of the trip's sendoff to its unsparingly realistic conclusion, which trades reckless hope for quiet honor.

Everyone involved, from Marla's defensive parents to the cynical journalists who promoted and then turned on her, seems to have some sort of agenda.

Director James Gray is best known for hard-edged dramas like "Little Odessa," so it's surprising to find he has such a well-developed romantic side. This isn't your average date-night flick, though.

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.

Hard to watch but important to see.

A neat little almost-thriller, this witty French diversion manages to mess with your head with little apparent effort.

Pamela Yates' unblinking chronicle of recent Peruvian history paints a devastating picture of a people nearly destroyed by their own leaders.

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

Riveting update of George Bizet's "Carmen."

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

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

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

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

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

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

There's nothing exceptional about Jane Campion's historical biography, but it's a sufficiently lovely tale to suit romantics with a taste for intimate period dramas.