Elizabeth Weitzman

If he has overlooked your favorites, have faith: There’s plenty left in the trunk for that promised encore.

A gorgeous meditation on girlhood

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

The film is best suited for dance buffs excited by an unexpected congregation of artistic pioneers.

Most crime stories are content to simply exist, wallowing in their own base violence. But David Michôd's fierce debut takes the genre apart, finding a reason for the madness that propels it.

All the actors are wonderful, including Sacha Baron Cohen as a villainous Inspector.

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

Heartbreaking and hilarious.

Both leading actors are teenagers who’ve never acted before — and they are both phenomenal.

Plenty of films owe a debt to "The Godfather," but it's rare to see inspiration used as successfully as it is here.

Perhaps it's no surprise that Reitman has come out with a lovely Hollywood romance that floats buoyantly along on a sea of sadness.

Those who go looking for tragic relevance in Scott Rosenbaum's debut indie won't find much to grasp onto.

As both writer and director, Jenkins pushes us to rise above judgment by steadfastly refusing to indulge in it herself. Deep empathy suffuses the screen, enveloping every one of the characters.

Ultimately, this is not a film about one specific event but about human nature - most notably, the instincts toward denial and delusion, acceptance and forgiveness. From start to finish, revelations abound.

The result is an often-anguished monologue built on pride, despair and self-defense. Accuracy aside, Tyson does work hard to analyze his own, clearly complex character. So while we only get half the picture, it makes for consistently compelling viewing.

Sensitive and thoughtful coming-of-age story.

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

But don't worry if you miss some details; this is the kind of movie that rewards a second viewing.

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

Weisz's meticulously crafted turn is certainly touching, but it lacks the immediacy of, say, Celia Johnson's in 1945's "Brief Encounter."

Unfortunately, while director Steve Boyum is a successful stunt man and off-road biker, his skills do not extend to the relatively passive arena of filmmaking. Somehow, he even makes much of the action static.

The Namesake is suffused with radiant grace, and manages to be old-fashioned yet immediate, epic and intimate.

Alternately funny, sad and outrageous, Sacha Gervasi's terrific documentary feels like the lost sequel to “This Is Spinal Tap” -- and everyone involved seems to know it, except the leads.

As smart as it is side-splittingly silly.

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

Alfredson makes the most of every detail, carefully crafting an atmosphere of haunting alienation. These two lost souls may come together under unusual circumstances, but their connection feels universally human.

Although little Timothy does arrive in unusual circumstances, his story will feel familiar to anyone who's encountered Hollywood's particular brand of calculated sentimentality.

Alex Gibney's forceful documentary starts with a single tragedy: the torture of an Afghani prisoner at Bagram Air Base. By the time it's over, he's broadened his focus into a documentary so damning of the U.S. government, it's hard to believe he even got it made.