Elizabeth Weitzman

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

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.

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.

The script is a mess, built on lazy clichés, stilted jokes and easy payoffs. What the movie does have, though, is enthusiasm.

The first half of the movie is painfully tense, drawing us into a relationship that we desperately want to see work. But the screenplay lets its characters down, as it devolves into platitudes and melodrama.

There is no urgency, and little honesty, to the convoluted goings-on unfolding here.

It would appear that for his first feature, Mikael Buch wanted to leave nothing to chance. So he threw in enough action for five movies, amped the comedy up to frenetic levels and encouraged his cast to play to the rafters.

Avila has a tough task, visualizing violent and complicated events through a child's eyes. The calmer scenes are staged in staid and somewhat clunky fashion, but the graphic animation depicting the worst moments is starkly effective.

The script relies on too many unlikely twists, but Bleibtreu manages to sell them all.

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).

Instead of expanding their sights, Fleischer and Beall narrow them, into a repetitive and increasingly exhausting series of shootouts. By the end, those guns might as well be held by extras, rather than some of the most talented actors of our time.

One can't blame Colfer for wanting to expand his range, but he's created a character who is neither hero nor villain, in a black comedy that is neither dark nor funny enough.

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

There are no villains here, no attempts to sway opinions or even stake out political ground. Some will find that a disappointment. But the truth is that this effort is both more evenhanded than most dramas with similar themes, and more open-hearted.

Crystal and Midler are such confident pros that their crack timing elevates even substandard material.

The most memorable turn, however, comes from young Holland. There is not a moment in which Lucas' fear, or unexpected courage, feels less than real.

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

Salles has made an admirable effort, which - while no roman candle - can be appreciated for its honest ambitions.

Cruise's tightly controlled performance holds our attention all the way through to the tense finale. Still, McQuarrie's script never gets at the heart of a character who's already inspired such a passionate fan base.

While the actors are appealing, their weirdly co-dependent characters aren't. And they don't learn enough to balance out the bland, intermittently irritating nature of their adventures.

The script is undernourished, the supporting characters - including a horribly miscast Lucy Punch - ill-conceived, and Val increasingly hard to take. But when the movie ended, I wanted to watch Walken all over again.

The result is undoubtedly impassioned. But it's also so blinkered and self-congratulatory that it feels like an undergraduate thesis project. Even if you relate to the cause, you may find yourself frustrated by the effort.

Mohan should have made a little more effort for us. Another pass at the screenplay probably would have done it. But one gets the sense he's already moved on to the next thing.

It's one thing to sit on your couch watching football in HD. It's another to view one of literature's most enduring fantasies in the same manner. The experience that felt so breathtakingly cinematic in Jackson's "Lord of the Rings" series now seems frustratingly fake.

Though we wander a bit, the trip is a delight, thanks to the witty company.

With costumes taking precedence over character, the movie ultimately seems more concerned with atmosphere than action.

Perhaps, if this movie fails, studios will finally accept that we all deserve better. Biel knows it already, and Butler keeps up in their scenes together.

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.

One of those factors must have settled upon the unlucky shoulders of Stephen Frears, who certainly has the pedigree to go all the way. And yet, he stumbles so badly with Lay the Favorite, his comic adaptation of Beth Raymer's memoir, that one is left wondering what could possibly have gone wrong.

Even taken on its own, this story of Graham (Poe), a single New Yorker feeling his way toward adulthood, feels like a promising college project that wasn't ready for the real world.

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.

Miserable individuals do tend to make for interesting subject matter, and this would be far more of a dry biography without its willfully eccentric lead. Plus, if the crankiness gets to you, tune it out and focus on the music. That's what Clapton did.

It's up to you to decide if his oddly artsy vision, which pulls in first-person perspectives, surreal memories and highbrow cinematic references, suggests interesting ambition or misplaced pretension.

Despite its definitive title, you won't actually learn much about Alfred Hitchcock from Sacha Gervasi's briskly superficial biopic. But you'll enjoy the experience anyway.

In this group, only Hemsworth stands out.

It's always dispiriting to see an ideal subject given shallow treatment, and one spends most of this documentary wishing a more experienced director had made it.

There is no satisfactory answer to the titular question posed by this no-frills environmental documentary. But first-time feature director Mary Liz Thomson does answer another one at least as important, by showing us who Judi Bari was.

The movie may critique its antihero, but it also offers just one more venue in which he's allowed to wallow - while we pay his way.

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.

Cooper and Lawrence could so easily have stumbled over the logistical bumps and clichés strewn across Russell's defiantly dark script. Instead, they glide right over them, creating an edgy romantic dramedy that suits our anxious times.

And now, just as Bella Swan (Stewart) embraces her own eternal power, Breaking Dawn, Part 2 expands with a full intensity of force, stronger and more epic than the films that led to this impactful finale.

There's not much to the movie, in which we watch the participants crack jokes and complain about their in-laws over corned beef. But when the diners include Sid Caesar, Carl Reiner, director Arthur Hiller ("Love Story"), "Animal House" producer Matty Simmons, and anachronistic announcer Gary Owens, it's worth pulling up a chair.

Director Lisa Albright has less success balancing the tones of two eras: the movie is more successful when replicating matter-of-fact '70s grit than the independent miserabilism of the '90s.

Surely Patton Oswalt could have leveraged all those accolades from last year's "Young Adult" into a better project than this instantly forgettable comedy.

Mikkelsen's unconventional features and intense talent lend a compelling edge to this expansive period piece.

The movie plays things relatively straight, acknowledging clichés without the winking irony in which modern homages usually indulge. As such, it's giddy fun - a well-made genre picture that sends up its influences even as it clearly reveres them.

A great many New Yorkers are rightfully indebted to doormen, but Jaume Balagueró's nasty little thriller offers a decidedly darker perspective.

Refn's version was successful enough to inspire two sequels; at its best, this effort will push Coyle's career a little further along in the U.S.

As it turns out, the only truly interesting element about this clichéd surfer flick is that it was made by celebrated directors Michael Apted and Curtis Hanson.

Michael Jackson fans will love Spike Lee's look back at the making of a classic, even if the extensive collection of clips and contemporary interviews - which could have used a firm edit - feels more suited to DVD.

Though Jaglom intends for us to be charmed by show folk, the amateurish performances and perennially misjudged direction wind up portraying them instead as boundlessly needy narcissists.

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.

Though they lack chemistry as a team, it's gratifying to see both Perry and Burns stretching in ways they haven't before.

It's an odd showcase for Diane Kruger. She is never very believable as Elsa, a war correspondent who has been kidnapped by the Taliban.

The baby angle is really just a hook on which to hang wry commentary about single life in the city, but Lisecki approaches his subject with obvious affection, and the game cast makes most of the sitcom-silly antics work.

It's hard to know whether Sebastian Gutierrez is imitating or satirizing the hard-boiled noirs of Hollywood's past, but either way it feels like a botched attempt.

At heart, Middle of Nowhere offers material we've seen many times before. But between her perceptive direction and Corinealdi's layered performance, this modest, micro-budgeted story has been beautifully packaged.

Even the actors seem disconnected, with only Leighton Meester - who has the most to prove - working to create a distinguishable character.

As is, the film is more likely to impress the choir than change many minds.

This impassioned documentary is well-intentioned and admirable in its aims, but overreaching and therefore lacking impact.

Anthologies are risky. For every high point, there's often a misstep to match. But this indie compilation has enough inventive chills to interest any horror fan.

Burton's extraordinary powers of imagination are in dazzling bloom, from the gorgeous stop-motion animation to the goofy, homemade horror movies the children direct.

Appropriately enough for a movie built on two-dimensional cartoons of amoral adults and innocent children, Shahidi is the only actor who emerges with her dignity fully intact.

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."

I am neither anti-charter schools nor anti-union. I am, however, firmly against heavy-handed lectures disguised as art.

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."

We will simply be grateful she (Lawrence) is here, and thus able to turn generic junk into mildly interesting junk.

David France's survey of AIDS advocacy should be invaluable to every frustrated movement, as both a road map and a reminder of how vital personal activism remains.

While plenty of talking heads turn up to offer breathless praise, it's no surprise that the preeminent words of wisdom are, thanks to copious archival footage, Vreeland's own.

As her boss and boyfriend, an impressively good-natured James Van Der Beek adds a professional sheen to what otherwise feels like a vanity affair.

Director Steve James ("Hoop Dreams") has a worthy message, but never makes the case that he needs an entire documentary to deliver it.

Lerman is suited to the title role in that he plays Charlie as wide-eyed and rather unmemorable. Watson doesn't seem entirely relaxed as an American teen, though she does serve as a lovely first crush. Among the adults making brief but notable appearances is Paul Rudd, as a sympathetic English teacher.

If Ayer had taken as much care with his bad guys as he does with his leads (and their deftly sketched wives and colleagues, played by Anna Kendrick, America Ferrera and Frank Grillo, among others), he might have crafted a seamless picture.

In Linden's assured hands, each character gets just enough time to contribute to the greater whole. They're all recognizable, not as clichés or stereotypes but as realistic individuals.

While foodies are sure to feel sated by the gastronomic splendors of Paul Lacoste's debut documentary, others may walk out with a strange sense of emptiness.

There are no supermodels or Cinderellas in this sadly compelling story, just predators and the impoverished dreamers who want to trust them.

A well-written, sensitively directed relationship drama. In most circumstances, that's all it would be - and that would be enough. But lead Thure Lindhardt pushes the picture into realms of such exposed intimacy, you almost feel like you're dating him yourself.

While plenty of gross-out comedies have come and gone in the last two decades, Leslye Headland's Bachelorette may be the most vulgar of them all.

Though Cooper deserves credit for pushing beyond his comfort zone, he's clearly miscast in a role better suited to a young unknown.

His outlandish story feels only half-told - though still twice as fascinating as most.

If only the movie could live up to its own potential. Instead, we're stuck with blandly unappealing costumed characters meandering through a boring quest to find some lost balloons.

Slick direction and a strong central turn from Jeffrey Dean Morgan will keep you watching, if rarely from the edge of your seat.

The most adorably filthy movie you may ever see.

Towards the end, you might find yourself thinking, "Well, this could have been worse." And you'll mean it as a compliment.

The action is, overall, as exciting as the primary performances are impressive.

Birbiglia is a great storyteller, but not a natural actor. Matt should really be played by someone with more skill - and by someone in his 20s, rather than a 33-year-old who pretends to be in his 20s by acting as clueless as possible.

As generic and forgettable as its title, this half-hearted attempt at a teen comedy feels like a term paper you might buy online: poorly written and cribbed from a million other sources.

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

Kold single-handedly carries the film, with his quietly powerful portrayal of a gentle soul in a giant's body.

There are plenty of ideas to gnaw on, given that Cronenberg has adapted Don DeLillo's intense novel of a New York on the verge of dystopian breakdown. But frustratingly bland work from lead Robert Pattinson results in an awfully watery stew.

Long before your 140 minutes are up, you may wish you went to see "Sparkle" instead.

A strong cast, empathetic direction and memorable soundtrack help create a movie that does everyone proud.

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.

We have little to hang onto once the film falls apart. Between the ongoing sermonizing and that final, sharp shock - which is gravely mishandled - we feel cowed into submission, rather than led towards enlightenment.

The introduction isn't as smooth as it could be, but eventually everyone settles into the right groove.

What we really want is to get to know them. Instead, the film too-aptly reflects life in their line of work: brief interludes rather than intimate soul-baring. That's a shame, since there can't be that many 70-year-old identical twin prostitutes with a 50-year history in the business.

Even if you appreciate the sight of grown men acting like idiots, the film's repetitive pacing and self-congratulatory air start to feel exhausting.

How does a comedy troupe even get from the frat-humor antics of "Beerfest" to the middle-class suburbanality of Babymakers? Well, everybody gets old eventually. Growing up, on the other hand, is optional.

Jones co-wrote the uneven script with Will McCormack, and one can't help wishing she'd aimed higher. Acknowledging cineplex clichés isn't enough if you still wind up embracing, rather than subverting, them.

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.

First-time director Anthony Baxter jettisons all pretense of impartiality, without adding any of the intelligent outrage of his evident influence, Michael Moore.

Alison Klayman's chronicle of Chinese artist and activist Ai Weiwei is so straightforward that one can't help wishing the subject would make his own, more complex cinematic self-portrait. But for now, Klayman has provided a valuable introduction to a man everyone should know.

Rodriguez's story is almost inconceivable in an obsessively magnified, heavily hyped Internet era. Which makes it all the more important to be shared. Listen, be moved, and pass it on.

Anyway. Here's what matters: The dance scenes are great. While no more revolutionary than the "political" plotline, the flash-mob concept does allow for more creative choreography than this series has seen in some time.

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

It often feels as if the filmmakers expect us to be equally seduced by Ruby's wide-eyed winsomeness. That's a shame, as we can sense the deeper film beneath the surface. Because Ruby remains conceptual, this ambitious project lacks the dimension of the similarly meta-minded Charlie Kaufman projects that apparently inspired it.

Deftly weaving double plotlines, gorgeous camera work, and deep compassion, Miike contrasts ritualistic "honor" with the truly honorable, as poor but noble squires face off against powerful lords cushioned by tradition and pride.

This is certainly an apt time to make a crowd-pleasing movie about rich villains, but Greenfield is not an exploiter - she's an artist.

With Trishna, his (Winterbottom) penchant for risks has once again paid off.

Whether accurate or not, it's certainly entertaining to watch regal intrigues through the eyes of lady-in-waiting Sidonie (Léa Seydoux). That Jacquot handles the action so lightly is a credit, considering that it takes place during some of the tensest moments of the French Revolution.

Despite its problems, there's a touching sweetness at the heart of Nancy Savoca's intimate family drama about estranged sisters trying to reconnect.

Something has surely gone wrong when there is not a single moment in Ice Age: Continental Drift that equals the four-minute "Simpsons" short that precedes it.

All the popcorn movies you're planning to see will still be at the multiplex if you wait another week. This shimmering beauty will be gone in a flash. Catch it while you can.

For her part, Lotz carries the load with such briskly efficient confidence, it's no surprise to learn that she's already got several more movies on the way.

Hartley fans will certainly see his influence, especially in dialogue and movement that are so precise as to feel choreographed.

Perry may be the world's most high-profile tease, but she sure knows how to show us a good time.

While I fully support the appearance of a new Madea movie every six months, even Tyler Perry can't be bothered to take this setup seriously.

For starters, it's a pleasure to see Matthew McConaughey - a gifted actor who can't hide his boredom in trivial work - finally settle into the role for which he was born.

Is there another actor working today whose face registers the extraordinary range of emotions Michelle Williams can display? Even in a film as false as Sarah Polley's Take This Waltz, her swiftly shifting expressions feel unerringly true.

True chemistry is hard to find. And by some stroke of movie magic - or sheer skill - Wahlberg and the bear make a pretty great team.

Thomas offers particularly fine work, but the underwritten script, which relies too much on sentimentality, gives him little to do.

Every adult who owes a debt of gratitude to American soldiers should see Kirby Dick's heartbreaking documentary about sexual violence in the military.

This film's only real stumble is its ending, which is so predictable it seems like a bit of a copout.

Hawke works hard to solidify Pawlikowski's wispy ideas (which are adapted from Douglas Kennedy's novel).

It's bluntly written, poorly shot and edited, and cruel without being clever.

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

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

Though gorgeous to look at, the first feature from Declan Donnellan and Nick Ormerod has an undeniable void at its very center: an utterly blank leading man.

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.

Don't be fooled by the indie trappings: despite its downtown vibe, Lola Versus is as clichéd as any Hollywood rom-com.

It's Theron who owns this film, imbuing her deliciously depraved Queen with furious pain and deep-seated fear.

The nearly unrecognizable Chiklis almost single-handedly saves the day.

Houston does his best with an unlikable character, and the young actors are appealing enough to keep us watching. The movie itself, however, is a mess.

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.

Trier's voice and vision, are thrillingly unique. His ever-searching camera, which never stops moving, takes us into places we've never been, know too well and won't soon forget.

Though not as impactful as Anderson's strongest works - including its adolescent cousin, "Rushmore" - "Kingdom" unfolds with an asymmetrical lyricism of its own.

A solidly entertaining summer movie is always welcome, even if it can't quite claim to be out of this world.

The most charitable approach to this unfortunate diversion in Jackson's career would be to pretend it never happened. Now, who wants to go see "The Avengers" again?

While a delicate topic would seem to require a delicate touch, Wexler goes more for cheeky entertainment. To some degree, it works.

If you're the type who unwinds by watching "The Wire" or "Law & Order: SVU," you might appreciate this grim procedural drama from French actress Maïwenn. There's no denying its power: It took home the Jury Prize at Cannes last year. But for most, Polisse will be tough going.

Think of Mansome as the equivalent of a $10 manicure: It'll modestly enhance your day without making any lasting impact.

The easily offended will be appalled. The rarely offended may be appalled. But they'll have to stop laughing long enough to realize it.

Charlie Minn seems intent on educating the world about the crisis of violence occurring in Mexico. While his new film feels too much like a retread of "8 Murders a Day," which he released last year, it's still urgent enough to warrant a view.

While the schemes occasionally seem strained, their desperate determination is never less than compelling.

It's hard to imagine this was his intent, but David Mackenzie's minor romp manages to make being a rock star look like a distinctly unglamorous affair.

Kore-eda does extraordinary work with his young cast, who deliver gentle, natural performances in a beautifully told story of heartbreak and hope. Deceptively modest and utterly lovely, it's one of the most magical films about childhood I have ever seen.

Woven amid the glib one-liners and contrived scenarios is an unexpected, and undeniably touching, sense of heart.

As both a comedian and filmmaker, Bobcat Goldthwait ("Shakes the Clown") has carved out a valuable spot as an idiosyncratic instigator. But even fans may be disappointed at how swiftly he undermines its own message here.

As that description suggests, the film winds up a rather grim, often indulgent muddle. But it's also undeniably compelling.

It's a shame, of course, that Madden brought the best to such an exotic Top locale without making the most of the opportunity.

While they have all the materials needed for a sharp satire, they're too timid to arrive at any real revelations.

Have we come a long way since Wright's world was upended because he spoke undeniable truths? Watch this essential American story, and decide for yourself.

Blunt has never been more relaxed, and she and Segel have a believably warm chemistry. It's also nice to find a romantic comedy with so much respect for both its leads.

The claymation visuals are charming, and an enthusiastic, if somewhat underused, cast works hard to sell the better jokes (though the funniest gag is a silent monkey butler).

Grubin is an experienced documentarian, and he plays to his strengths here. He certainly makes the most of the Manhattan setting, whether his characters are practicing at Juilliard or playing for cash in the Times Square subway station.

Some of this wallowing goes on too long, risking our alienation from characters who are difficult to like. What saves the film is the fact that they are always easy to recognize, both as self-centered teenagers and tentatively maturing young adults.

The biggest problem, however, comes down to chemistry. If the leads have it, a Sparks romance will work.

If you can look past the annoying quirks, you'll probably have a good time. As Steve says, sometimes, it pays to compromise.

It's a shame, though, that the movie also features stereotyped or retrograde attitudes towards Jewish, gay, and female characters. Perhaps Van Peebles' kids could school their dad on the virtues of across-the-board respect.

The cumulative power of so many great minds envisioning our potential self-destruction is undeniable. You may start planning your move off the grid before the movie even ends.

Any story about Suu Kyi's extraordinary life is worth seeing, simply to learn more about her. Even so, such a rare individual deserves a film that treats her not as a saint, but the remarkable, complex human being she actually is.

It's as if the TV character Dawson directed "Heathers," or another one, Parker Lewis, remade "Scream." Who'd have guessed that would be a can't-lose idea?

Director Kat Coiro - who co-wrote with Ritter - spices up the formula just enough to keep us watching, while Bosworth adds versatile edge to the BFF banter.

Though Hurt and Rossellini make a warmly believable couple, they can't overcome the film's biggest drawback: Gavras' own awkward attitude toward aging.

While ATM does offer a few jolts, we're paired with bland characters and an underrealized premise.

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.

Incredibly enough, it seems many people still believe that bullying is just a matter of "kids being kids." Until that attitude changes, this film should be considered required viewing for every parent, teacher and teenager in America.

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.

The biggest trouble with "Bliss" is the way it wastes a cast that deserves so much more.

In truth, Musical Chairs is so simplistic it almost feels like a first film.

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

It's miles away from big-budget, pop-culture entertainment, but you may be surprised by its impact.

Gently sweet but unmemorable bonbon.

Cage and the always-intense Pearce keep this thing going, but even they seem to know the ultimate destination is a bargain bin.

While "FWK" never challenges us, it does remain consistently engaging.

Though the central blowout is as epic as advertised, so is the movie's self-congratulatory obnoxiousness.

Waititi retains his quirky style, but it feels meaningful here, a valid effort to explore the difficulties in coming of age during tough times.

A good-natured and highly enjoyable goof.

It's irrefutably art, and undeniably vital.

While softening Geisel's darker themes, they still meld a valuable message into catchy songs, bright images (nicely done in 3D) and funny characters.

This film - like all the Madea-free dramas - could use more humor. Still, every Perry movie has its highs and lows. This time, the highs are a little higher, and the lows not quite so low. There is no faith-based message, but the moral is obvious: persistence pays off.

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

There is so much to admire in Joshua Marston's The Forgiveness of Blood that it's easy to overlook the miracle at its center: Marston's artistic idealism.

Despite the calculated advance press about the movie's nudity, polygamy, dirty talk, etc., David Wain's comedy is depressingly banal. And all that breathless hype now feels like nothing more than manipulation.

With his (Cage) over-the-top delivery and operatically intense facial expressions, there's no way anyone could accuse him of phoning this one in.

Schoenaerts capably handles a difficult role that's equal parts pathetic, repulsive and heartbreaking. But you'll need a strong will to spend your time with such a tragically hopeless character.

There are plenty of unexpected moments within this stirring film, but it's no surprise at all that it's been tapped to compete for a Best Documentary Oscar next Sunday.

"War" is depressingly mean-spirited.

As vital as the best war chronicles to come out in recent years, this is one every American ought to see.

Steven Meyer's deeply affecting documentary, narrated by Laurie Anderson, takes us back to a camp in Nazi-occupied Poland, Majdanek, in order to honor those who left everything behind.

The real romance here is between the filmmakers and the cultural moment they hope to document. From that perspective, it's a welcome - if not quite award-worthy - valentine.

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.

It's undeniably interesting to watch each element come into place, from choreography to costumes. But the truth is, most viewers will best appreciate the retro-sexy dance numbers themselves.

Such a unique personality really deserves a more interesting tribute, but it's so nice to see this one-of-a-kind nonagenarian still going strong.

A well-shot but generically dull disappointment.

While W.E. cannot be counted as a successful directorial effort, there are genuine elements of interest here. The most notable is a nervy central performance from Andrea Riseborough, who plays true-life Baltimore socialite Wallis Simpson.

Though "Woman" never rises above its status as a traditional genre thriller, that's perfectly fine. It was made with intelligence and commitment, and it achieves its goal: to keep us looking over our shoulders long after we've left.

She's (Heigl) disastrously miscast as a character beloved by fans of novelist Janet Evanovich.

Screenwriter Pablo Fenjves start with a promising premise, and the opening scenes are taut and suspenseful. A late-day chase scene picks up the sagging middle, but Leth totally fumbles what should be the movie's biggest moment.

Fashionistas who flock to Whitney Sudler-Smith's documentary should pay heed to the entire title: this isn't simply the biography of an American icon, but the chronicle of a misguided filmmaker.

While Sigman conveys a credible state of tense disbelief throughout, it's increasingly frustrating to watch Laura so passively accept her dire fate.

Albatross is the kind of movie that looks good, begins with promise, and then nosedives into deep disappointment.

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.

Still, every time Kurt opens his mouth you wish he would refocus and realize that, in fact, we've come to see a movie about someone else.

Michael Cuesta's perfectly-pitched indie captures the pain of arrested development with so much empathy and insight, you can't help but root for the unmoored, overgrown adolescent at its center.

Fans of the book may resist the efforts of director Tran Anh Hung ("The Scent of Green Papaya"), simply because it would be impossible to capture the essence of Murakami's prose. But this exquisitely filmed, often haunting tragedy is worth taking on its own terms.

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.

In this film, a single word is worth more than all the expensive effects imaginable.

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

The biggest problem, however, is the way Zhang romanticizes the unimaginably awful, turning gold-hearted prostitutes and virginal orphans into cinematic martyrs. Though his talents are vast, there may be too much truth in this particular story to suit his extravagant tastes.

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.

The film is spectacularly constructed, from intimate closeups to dizzying chase scenes. But as is often the case with this format, the motion-capture animation feels weirdly lifeless.

While their story is feather-light, Khoury and his actors have each type down perfectly. Worth seeing with friends, but you won't want to make a date night out of it.

The only thing that's missing, in fact, is a soul. On the other hand, there's a good chance you'll get so caught up in what they're doing, you won't even notice how stiff and inhuman the actors appear.

It almost seems unfair to mention that Carla Gugino shows up as a cop 80 minutes into these overlong proceedings; by then, viewers who walk out would never even have known that she was involved.

It's a transformation as wrenching to watch as it is vital to remember.

The script, co-written by Bouchareb, is regrettably simplistic. But Blethyn and Kouyaté inhabit and expand the film's earnestly instructive intentions, leaving us with a deeply-felt experience rather than a naively-sketched lesson.

Even those who adored Alec Guinness as the small-screen George Smiley will appreciate Gary Oldman's perfectly attuned turn as a Cold War spy drawn back from forced retirement.

An inferior retread of Marshall's equally contrived "Valentine's Day," only dressed up with coats and confetti.

Racing enthusiasts will appreciate historical footage, while a thread about a new student overwhelmed by his responsibilities has promise. But after a decent start, Marquet stumbles, never making it across the finish line.

The primary response he's (Kitano) seeking seems best expressed by one typically ill-fated player: "What the hell … ?"

Though the Tickells' unabashedly partial, first-person approach is a liability, they present so much damning evidence that their case is - one hopes - impossible to ignore.

These characters are stripped bare in every sense, reflecting an extreme degree of inner confusion, vulnerability and fear. Betrayed and broken as children, they now have to define and rebuild themselves as adults...Sissy turns a nightclub rendition of "New York, New York" into a heartbreaking plea.

A Dangerous Method concerns itself primarily with sex, but what's most shocking is how conservative it turns out to be.

Segel and Nicholas Stoller, who made "Forgetting Sarah Marshall" together, wrote the screenplay for The Muppets with obvious intent: to return these icons to their former glory.

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

As a low-cost baby-sitter, this high-energy sequel definitely does the trick.

It's Barkin, though, who holds everything together, even as her character is falling apart. Whether or not she took this role as a favor - Levinson's father, Barry, directed her in "Diner" decades ago - ultimately seems irrelevant. This isn't an invitation you should feel obliged to accept. But if you decide to stop by, she'll be the reason you stay.

To outsiders, in fact, Breaking Dawn: Part I will probably look like the weirdest, most expensive chastity commercial ever created. But Meyer's massive fan base will see something else entirely. They'll see a faithful, well-made depiction of the most eventful book in a beloved series. They'll see the actors they adore embodying characters they cherish.

While some documentaries are broad enough in theme and creative enough in style to attract a wide-ranging audience, others remain best-suited to a smaller group of devotees. Such is the case for Peter Rosen's biography of violinist Jascha Heifetz.

The story is never less than gripping, but the most important questions disappear into that unbearably bleak abyss.

The movie's intensity is given crucial depth via Moura's somber and unshowy performance.

A popcorn movie has one goal, and that's to entertain. Immortals meets this criteria handily, and serves as a splendid spectacle besides.

There are moments in Jack and Jill that are genuinely funny - and, just like countless family reunions, there are moments when you can't wait for it to end.

Boasts an unusually strong cast of actors, who boost the slick screenplay into a satisfying popcorn picture.

Unless your own horoscope recommended wasting two perfectly useful hours of your day, take a pass.

The trailer for Like Crazy is one of the best of the year, and I couldn't wait to see the movie that inspired it. Turns out, the film itself plays like one long trailer, a collection of moments and montages that hint at, but never quite achieve, a fully realized whole.

Though the cast is energetic and the intrigues diverting, you'll have to distance yourself from reality to enjoy so much outlandish scheming.

Gere and Grace do make a decent odd couple, but neither seems entirely committed.

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

No one looks at the world quite like Kaurismäki, and his deadpan sentimentality is worth discovery. This is a good place to start.

The only real reason to see this movie is to show unwavering loyalty to Cena. And even so, he'll never know if you wait to watch it on cable for free.

It must be said that everyone - including Dominic West and Rosamund Pike -- works awfully hard to entertain us. But that just makes it all the more depressing when joke after joke falls painfully flat. Stay home and introduce your kids to Mr. Bean, instead.

For any adult feeling overwhelmed by bad news and dark times, your antidote is right here.

While Spacey, Tucci, and Bettany are the standouts, every cast member locates disturbing notes of villainy or humanity.

Oddly, Craig Brewer has softened the tone for his remake. But nearly everything else remains intact, and -- surprisingly -- that's just enough to win us over.

Philippe Le Guay's carefully-tailored crowd-pleaser does have its pleasures, even if originality is not among them.

He's (Clooney) got the makings of a great movie here: one that represents our politically surreal times with keen insight and appropriate cynicism. It's only when he veers off the path, suddenly worried he'll lose our attention, that he falters.

Margaret - titled after a poem - reflects its adolescent subject with striking accuracy. It can be frustrating and self-important, clumsy and naive. But it's also passionate, curious and filled with insight, so unafraid in its ambitions that even the flaws are interesting. Every bold vision requires respect; a few deserve celebration. This is one of them, imperfections and all.

Nichols approaches his subject with thoughtful empathy, and while his themes are enormous - he's addressing no less than the state of our nation - he wisely underplays even the most important moments.

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.

When Robert De Niro, Clive Owen and Jason Statham unite for an action thriller, we should be able to expect something special. Or at least memorable. Instead, Killer Elite gives us ordinary.

If you could also use some time off, try his gentle new comedy.

While Lurie could have gone lighter on the symbolism, he ratchets up the tension with deft intelligence. He's not just making a thriller but a horror film, and we feel his own fear in every scene.

From the wry narration to the girlish mannerisms, Parker really does turn this film into "Sex and the Kiddies."

Most of the actresses are appealing, but ultimately not even the gifted Mara can keep the film from feeling like a gauzy portrait of privilege.

While Shepard and Tuck earn a few laughs spoofing the celebrity/enabler relationship, the high points come from the game cameos: Ashton Kutcher, Jon Favreau, and Bradley Cooper are drolly entertaining as A-listers who make it perfectly clear that they're doing their buddy a big favor by appearing in his movie.

Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.

To maximize your entertainment budget, look no further.

What the movie lacks in depth it makes up for in surreal humor, and - just as he should - Gainsbourg look-alike Elmosnino seduces us effortlessly.

The one crime a B-movie should never commit is boring its audience. By even these low standards, Shark Night 3D is dead in the water.

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