Elizabeth Weitzman

If you want old-school cool, you go to Laurence Fishburne.

This is not a film for the impatient. But director Aparna Sen finds the poetry in romantic restraint, which is a mighty rare resource these days.

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.

An extraordinary achievement that nevertheless falls short of its full potential, Coraline is absolutely worth seeing, for older children and adults alike. But the connection will be entirely through your eyes; if you want it to touch your heart, you'll have to go to the book on which it's based.

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

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

Turns out, Michel Gondry has crafted an irreverently funny, ultramodern take on the 1930s radio serial.

It has heart and a good kick.

Hamoud so deftly mixes both the intimate and the enormous throughout, endowing vibrantly-shot, slice-of-life storytelling with an often wrenching depth.

The impact of the last-act reveal also speaks to the considerable strength of the filmmakers, including not just Lucks but his gifted co-writer Natalie Medlock. Because although the movie concerns itself with love and sexuality, its true subjects are vulnerability, trust and self-knowledge.

The issue, we come to realize, isn’t that Hite disappeared — it’s that she was erased.

Stokes recorded every story she possibly could, from 1977 to 2012. By then, it had become a lot easier to chronicle both the minutiae and the magnitude of life in the 21st century. But has that been an improvement? Wolf leaves it to his audience to decide, after gently pushing us past any instinctual answers.

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

Were the casting stronger, the film -- would have had a better chance of transcending its lack of subtlety.

Jennifer Aniston and Steve Zahn? Who thought that would be a good match? So it's to everyone's ­credit that by the time the ­movie is over, you'll wonder why they were never paired together before.

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

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

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

If you're in the mood for fairy tales, you've come to the right place.

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

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.

That we watch the ticking moments of Where Is Kyra? with so much concern is a testament to the filmmakers and cast determined to elevate her unnoticed life.

Ultimately, the filmmakers’ intention isn’t to throw us off but to invite us in, to encourage us to wonder: Is it really so strange for one woman to have two reactions to life?

The result is artistically uneven in structure but emotionally powerful throughout.

Because Munn wisely underplays, she’s able to creep across the high-wire Bateman has stretched out, in which Violet perpetually balances deadpan external calm with overwhelming internal detonation.

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

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

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

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

Zax’s gentle, fly-on-the-wall perspective keeps us primarily in the present, reminding us that all we need is right there inside the shop.

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

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.

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

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.

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

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

If you’ve ever watched a classic movie and wondered why no one else seems uncomfortable with its portrayal of female characters, you’ll want to see “Brainwashed” as soon as possible. And if you haven’t — well, that may be all the more reason to seek it out.

Accept the challenge. What's good enough for Bart is good enough for you.

It is rare to find a film that reflects its subject so insightfully, in both an artistic and thematic sense.

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

Granik took a big risk here, making a purposefully small film that rejects familiar notions of dramatic conflict. But her approach works well enough that the most jarring note becomes Foster’s movie-star presence.

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

Streep is the most important ingredient in this recipe.

Packed with filthy jokes, insane sight gags, and body parts used in decidedly uncommon ways, Brüno is hands-down the dirtiest R-rated movie you'll see this year.

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

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

Every moment indicates deep compassion for Orna, and anyone else who might be driven to see a multi-layered message movie for the #MeToo era.

If the end result is less a comprehensive biography than a long overdue and entirely deserved tribute, it is, nevertheless, truly terrific.

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.

To underestimate actors of this caliber -- even in a popcorn action flick -- would be dangerous indeed.

A sharp sendup of suburban conformity and American materialism, The Joneses does burn through its credit by the end. But it's flashy enough to catch our eye, and keep our interest nearly all the way through.

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.

Given that Kalderon juggles as many tones as Erez has moods, it’s tough to imagine how he could possibly wrap them all up. And yet he brings his hero, and all of us now cheering him on from the stands, to the perfect conclusion. Unveiling one of the best finales of the year, he turns his ambivalent swimmer into a superstar.

A slow burn that never quite bursts into flame, Both Sides of the Blade is likely to appeal most to those who are already fans of director Claire Denis. That said, would anyone turn down the opportunity to spend a couple of hours with her luminous leading lady, Juliette Binoche?

Connolly has turned Tim Winton’s 1997 novella into his own environmental cri de coeur . . . and while the specifics can get a bit clunky, his passion drives our interest all the way to the end.

If the children feel like symbols — sweet and touching, but not quite real — the adults provide a profusion of reality.

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

I’ll Find You is an ideal diversion for those who like their cinematic escapism with heavy doses of music and love.

The film’s best scenes are, in a way, the flip side to its weaker ones: the closeness between Castro and her subjects lessens their objectivity but strengthens their intimacy.

It would be nice to see Wright work from a stronger script next time, but she rises above the limitations admirably.

Yes, My Little Pony: The Movie, like its television predecessor, is all dressed up in bubbles and cupcakes and rainbows. But it’s so jam-packed with rousing girl power, it passes the Bechdel Test with (literally) flying colors.

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

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

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.

These women wear what they want, love who they want, find fulfillment in their power, and support each other unconditionally. They’re not undermined by a script that highlights their flaws or insecurities, or a camera that reflexively leers at them. They get to just be, with all the freedoms and potential of any other fictional heroes.

We can, thanks to movies like this one, continue to bear witness. But we will never truly know the reality he tries so hard to unearth, and that remains our burden to hold.

A tightly-drawn Bullock is fully in tune with Ruth’s pain, making her extreme introversion an evident side effect of trauma rather than personality. Because Ruth keeps so much inside, Fingscheidt uses every element to create a sensory connection between this difficult character and the audience.

The truth is that even at 71 minutes much of this film feels padded, as though Stigter couldn’t let go of the subject but also wasn’t sure how to expand it further. Because Kurtz’s concept is so moving, however, the film retains much of the power he brought to his book.

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

Although this single-minded existence will fascinate and inspire devotees, anyone new to the details of her life is likely to be left wanting more. Even so, all will be moved by the honest approach Dion and Taylor take towards her illness.

Even when the movie stumbles, Hudson’s bravura performance — and those extraordinary songs — steady its soul.

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.

Kolirin has a sense for the bleakly surreal, and an ability to balance even the darkest experiences with empathetic shades of gray. Everyone here is bound by bars of some sort, and everyone has the freedom to make certain choices within them.

Ascher leaves us pondering the costs of dissociation, but also its seductive appeal. Is it really that outlandish to look around occasionally, and wonder at the surreality of it all?

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

Ultimately, though, it all comes down to Duhamel. For a brief, heady moment, the real Galvan had all of Canada intrigued by his exploits. But the greatest coup of all is that his legacy will now forever be defined by Bandit.

To call it a difficult watch would be an understatement; it often feels, in its stark honesty, like a horror film.

We learn in the documentary Loving Highsmith that the author herself knew plenty about the duality that defined so many of her characters.

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.

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

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.

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.

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

It’s a testament to both Matlin and the movie that we leave already anticipating the chapters still to come.

Delpy’s balancing act is an admirable and often effective one.

The movie’s most notable asset is the way it resists sketching any of its main characters with a single, easy-to-grasp definition.

Stallion" has gorgeous cinematography with spectacular landscapes - plus a lazy script, forgettable performances and regrettably uninspired direction.

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

It's like racing through a detective novel, only to find the last page has been torn out.

A natural crowd-pleaser, this year's big Sundance award winner is both overly familiar and surprisingly fresh.

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.

With some movies, you know exactly what you're going to see before you even enter the theater, and Michael Mayer's Flicka is one of them: You've got your girl, you've got your horse, and you've got your strict father trying to keep them apart.

Even with its first-rate cast, current political relevance and tangled mysteries, The Good Shepherd remains as remote as Wilson himself. But frankly, if the lives of CIA spies are really this dreary, they may as well keep their secrets to themselves.

Oddly, almost unrelentingly, grim.

There are several small, startling moments of insight hidden amid the long, slow stretches of listlessness. But the balance is slightly off. We could have used a little more pleasure to get us through his grim adolescent unknown.

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.

Unrelentingly, admirably committed to its own grimness.

It starts pushing buttons immediately and never lets up. This proves to be both its strongest asset and, unfortunately, its biggest flaw.

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

The action periodically stops so the characters -= even the roughest grifters -- can break into song and dance.

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.

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

Surprisingly poignant, thanks to its enduring sense of tenderness.

Director Bezucha's eyes are as starry as Montana's sky, but it's pretty hard to resist such a determinedly utopian vision of love.

Does have a sort of endearing, earnest charm. But it would take much more than good intentions to save a film that rehashes cliches and concepts so unabashedly.

Plays strictly to formula, the only real surprise is its apparently ironic title.

An uncensored, often hilarious vision of spring break madness that is so perfectly positioned on the big screen, the only question you can ask its creators is, "What took you so long?"

The special effects here are surprisingly smooth, and everyone seems to be having fun.

If it's not quite the best Will Ferrell movie he never made, Balls of Fury is, at the very least, a lot funnier than it has a right to be.

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

Zingaretti does a fine job shading a character that is written as an unalloyed saint.

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

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.

Chéreau keenly understands both his characters and their unwanted world, from the dehumanization that occurs the moment one enters a hospital to the hope and fear that take over when one leaves.

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

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

John Greyson and Jack Lewis' experimental drama, about two prisoners who have a dangerous affair, is a challenging, flawed look at a little-known slice of history.

Smart, imaginative - and nearly ­impossible to watch.

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

Ristovski needs us to feel his nation's torment, and he succeeds.

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.

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

Putting an entertainingly outlandish spin on "Matrix"-style action, Bekmambetov leans toward flamboyant special effects and operatic overacting.

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

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

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

The attempt to make this intimate movie more exciting is misguided; we can find plenty of manufactured thrills at the multiplex. What's wrong with a little quiet, old-fashioned charm?

Because although there are some very striking moments in Neil Armfield's debut, there are simply not enough to keep us absorbed the way a movie should.

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

The thin, whimsical story is really better suited to a short film, but Hall deserves a lot of credit for carrying off such unusual material.

Cynics need not show up, but if you're looking for a feel-good fairy tale, this one's certainly sweet enough to satisfy.

A good movie that could have been better, Joseph Cedar's sensitive Israeli drama falters when he trades sociological observations for political ones.

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

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.

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

The time-traveling is a little awkward, and a mawkish turn of events feels forced and unnecessary.

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.

Starts strongly and is bolstered by thoughtful performances.

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

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

Suleiman isn't much for words, but when he's ready for action, there's no hiding his anger.

While Kim is unable to keep us riveted on her near-silent performance, the script and direction have a gentle sensitivity.

Short, sharp and to the point, Vacancy has a single goal, and that is to scare the hell out of you.

It's both a compliment and a criticism to say that Michèle Ohayon's scrappy documentary ends much too quickly. Every moment of this story - about America's unlikeliest matchmaker - is fascinating. We just need more of them.

The way he presents his romantic history is both clever and entertaining, but after a while the story becomes tediously familiar.

Unfortunately, despite some strong performances, the movie never really makes a case for its own existence.

A rare opportunity to see shorts without having to spring for a ticket to a film festival.

Slams us with an absurdly repugnant ending, for absolutely no reason other than to shock viewers and generate cheap controversy.

Noya is a natural actor, and there are genuinely sweet moments between him and the adults. So, why did Agresti feel the need to pour so much added sugar down our throats?

Anyone familiar with Reno's politically minded monologues won't be surprised by her fury, which has sometimes been fueled by a self-righteousness that's undermined her valid observations.

Selim's script doesn't hit new territory, but beautiful cinematography takes it just far enough.

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

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

There are no surprises here, in other words, but there aren't supposed to be: This is a comfort film, the on-screen equivalent of mac and cheese - though with a splash of truffle oil to class things up.

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

Koury's harsh documentary is likely to leave you unsettled and depressed. Which is, clearly, just what it's supposed to do.

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.

Reeder makes a compelling lost soul, so that even the most soddenly moralistic moments are worth watching.

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

Young kids will be so distracted by the silly songs and clever contemporary references that they won't even realize they're sitting through cinematic Sunday school.

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

The result, while slight, is a poignant portrait of one of New York's all-star outlaws.

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.

A deeply felt, if occasionally amateurish, journey through some very affecting terrain.

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

Modest but memorable.

If even one audience member leaves more concerned with the evils of poachers than the pleasures of Pokemon, Disney's more than done its job.

Despite some contrived plotting, Amari and Abbass have so much empathy for Lilia's shy self-discovery, it's a pleasure to watch her gradually give in to her newfound joy.

Both neurotic and endearing, it's so carefully accessorized you may not even notice that, at heart, it's a standard-issue romantic comedy.

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

A wild dream that spins into a nightmare, Moonlight isn't quite as provocative as it aims to be. But it will stick in your mind, and may even disturb your sleep.

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

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

Intermittently compelling drama.

The movie is so glacially paced and underdeveloped that it often feels as numb as its grieving hero.

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

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.

Gilbert blatantly takes Chong's side, so your level of empathy will rise or fall depending on how strongly you connect with his subject's hazy, if enthusiastic, dedication to "the pursuit of righteous happiness."

By the time they're ready to leave their trench, we're not at all ready to see them go.

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

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

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

Intermittently amusing.

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

Proudly, and often hilariously, juvenile, "Destiny" is packed with typically grandiose Tenacious D anthems - the sort that thrill 15-year-old boys listening alone in their bedrooms.

As writer, director and producer, Bose has taken on more than she can handle - a fact increasingly obvious each time she stumbles over political themes. But she has a genuine gift for atmosphere, making the many wordless scenes, in teeming streets and on crowded trains, the movie's best.

Mostly, Benazzo and Day leave us alone to take in the extraordinary sights and sounds.

Although all the key players are back - including, fans will be glad to hear, Heather Matarazzo as cynical sidekick Lilly Moscovitz - the freshness of the first is long gone.

At its best, TMNT does recall the slangy fun of the series' glory days. But there are too many moments when it feels as stale as one of Mikey's half-eaten pizzas.

As usual, Thomson steers right into the heart of vulnerability, with a painfully true performance as a guarded, confused soul.

For the most part, the Plastics' music -- is not extraordinary. But as it's told here, their story is.

Miller and Pearce are admirably determined to do their complex characters justice, but the generic script turns them into enigmatic symbols, locked in a hollow time capsule.

We can't quite shake the feeling we've seen this all done before, and better.

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

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

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

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).

An endearing premise and fanciful spirit aren't quite enough to rescue a film that has more heart than smarts.

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

At its best when its heroes race furiously toward their missions, most of which involve jumping out of a helicopter into surging waves.

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

He may earn his living as a cab driver, but the blank hero of Martín Rejtman's sardonic Argentinean comedy is perfectly content to hitch his way through life.

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

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

An excellent idea that never quite pans out.

The beautiful black-and-white photography - and disappointingly sappy ending - are the only remotely sober elements here, thanks to Besson's loopy script and Debbouze's very funny turn as a loser who simply can't believe his luck.

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

A cheerleader spoof that starts rousingly, but ends up nearly as shallow as its easy-target subjects.

An only intermittently amusing genre parody.

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.

In equal parts earnest and awkward, this romance between a Mormon missionary and an L.A. party boy falls significantly short of its lofty goals.

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.

Instructive but aggressively biased liberal history lesson.

Chereau keeps us locked inside their suffocatingly unhappy home, making for an intensely theatrical chamber piece.

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

While the story's silly, the stunts, choreographed by Jaa and popular Thai filmmaker Panna Rittikrai, are spectacular.

There's a great deal of potential here, but like Will, Minghella loses his bearings whenever he wanders too far from home.

The film nearly drowns in earnest morality.

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.

Like "Lions for Lambs," Redacted is more significant in its sense of purpose than its uneven execution.

Christian infuses this familiar story with gentle empathy, which goes a long way in balancing out the more amateurish choices.

It's an interesting conceit that quickly becomes a precious annoyance especially since the drama itself is so static.

Immensely moving and strikingly original, Kelly's story of a brilliant, disturbed teen (Jake Gyllenhaal) drowning in the cultural morass of the 1980s now feels bloated.

Kids will love it.

Whether today's tweens will go for such wholesomely retro entertainment is questionable, but their parents - at least the ones who once donned rainbow knee socks and too-tight Calvins - will love to love it, baby.

For everyone who has been waiting on a movie in the Ghent dialect, your patience has paid off. Happily, Felix Van Groeningen's low-budget romance is also sly - if utterly superficial - fun.

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.

Won't change the world, but thanks to its casual intimacy, it was a risk worth taking.

You'll find more authenticity listening in on conversations at your corner diner. But this is a gentler alternative, especially if you prefer your coffee with extra cream and sugar anyway.

Though it has a familiar inevitability, the journey is generally compelling, thanks to fierce battles, a gorgeous landscape and heartfelt performances.

Good intentions and some nicely playful moments go a long way toward balancing out Paul Morrison's uneven story of British immigrants in the early 1960s.

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

The many opera scenes are so beautifully mounted, they make up for the moments when the story veers toward melodrama.

The latest "Dawson's Creek" alumnus to break out of his WB bonds, Joshua Jackson proves himself all grown up in this sweetly scrappy indie.

There's nothing truly new to be found here, but Kreuzpaintner treats Tobi's confusion with respect and gentle humor, making this an especially sensitive coming-of-age/coming-out story.

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

With lots of cool gadgets, plenty of silliness and a clever concept guaranteed to appeal to preteens, this should be an unflagging, high-octane romp.

While Mark Friedman's script is as unsubtle as Winkler's direction, their sincerity and the subject's sharp immediacy lend the film a certain power.

An invaluable chapter in the story of our city.

Is it possible for an historically -based Holocaust movie to be schmaltzy? This one sure comes close.

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.

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

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.

There are so many small, satisfying moments when the women are allowed to be real that it's a jolt each time they become superficial symbols.

This is simply too vast a task for a filmmaker as inexperienced as Estevez. Compared with, say, Robert Altman's similar but far more complex "Nashville," Bobby mostly comes off as a Hollywood public service announcement: passionate, righteous and strikingly removed from reality.

Yeboah is so levelheaded about his own accomplishments that the swelling score and emotional narration from Oprah Winfrey feel embarrassingly sentimental.

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

Linney hits a single note for her uptight character, while Walters travels the scale indiscriminately. Her outsized eccentric darts from amusing to grating. Only Grint is just right, as the boy they, and the film, can't do without.

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

Despite several attempts, we're still waiting for the drama that convincingly captures the experienc of soldiers who've fought in Iraq. Stop-Loss" isn't that film, but at the very least its efforts are honorable.

Like the average best-man toast, Debbie Isitt's amiable mockumentary has many funny moments, a few touching ones and some that fall just slightly flat.

Surprisingly sweet and smart... LaBeouf does an excellent job, and the talented Beeney is one to watch.

Good or bad, it's either a must-see in your house, or not even on the radar screen.

Both Tatum and Dewan know how to move, and their co-stars (including musicians Mario and Drew Sidora) are equally gifted.

Most interesting are the founding mothers and fathers of this movement, who first appear amusingly nostalgic and eventually grow exceptionally bitter as they complain about the packaged and ambitious nature of artists today.

Proyas creates an engaging, high-octane energy, boosted by an up-for-anything cast.

Surely no other has done it quite like this group.

Characters do little more than run around the same track incessantly, leaving us waiting for revelations that never arrive.

Occasionally exhilarating documentary.

A movie about identity that can't quite pinpoint its own, Andrew Douglas' road-trip documentary about the Deep South does eventually meander toward audience enlightenment.

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

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

There's no denying the beauty of Schwartzberg's landscapes, or the power in many of his chosen stories - from the Texas oil well fighters to the Boston father who helps his handicapped son win marathons.

A visually lavish but somewhat sterile adaptation.

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