Elizabeth Weitzman

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

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

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

The plotlines are clichéd and the score overbearing, but uniformly strong turns go a long way towards shaping the lush, nostalgic atmosphere. Don't forget to bring tissues.

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

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

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

Though we leave Earth feeling overwhelmed, we’re also more aware than ever that he’s only shown us the tiniest fraction of our impact.

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

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

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

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

The movie is at its best when the filmmakers focus their ire on Hollywood itself — the hypocrisies, the empty promises, the rejections and belittlements that are built right into the system.

While the Tony-winning play based on the same book creates unexpected impact through strikingly inventive puppetry, Spielberg is at a disadvantage in employing such a literal approach. Not even animals as beautiful as these can substitute for human ingenuity and imagination.

You'd be hard-pressed to find a misfit loner as confident as Olive, who bears her considerable tortures with remarkable grace. But Stone is so funny, smart and sweet that we relate to her anyway.

Since Alfred Hitchcock set the standard for strangers-on-a-train thrillers, Anderson has a lot to live up to. He falls short of creating a new classic, but he does manage to keep us on edge for most of the movie.

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

In this group, only Hemsworth stands out.

DaCosta uses a range of thoughtfully considered media to shape their already-sharp script; the film’s violence is equally startling whether it’s depicted graphically and up-close, or through old-fashioned shadow puppets and oral traditions.

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

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

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