Elizabeth Weitzman

Fortunately, the cast cuts through a cloying script and boosts unsure direction with sharply focused performances.

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.

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

Other than a few witty jokes and a game cast, there's nothing particularly special here.

Though the results are only moderately compelling, the film's problems stem not from a lack of ideological thrust, but rather from a protagonist who is so phenomenally unlikable.

Kudlácek's primary focus, however, is on Deren's work, which means we don't learn enough about her complex, fascinating personality. On the other hand, she's offering a too-rare opportunity to see substantial portions of Deren's seminal films.

Has some nice moments, but it feels very much like a first film. The pacing is off, and the cast members appear to be acting in completely different projects.

This isn't a family -- or a film -- you'll ­easily forget.

There are movies that are all about the characters, and then there are movies, like Bangkok Dangerous, that are far more about the directors who created those characters.

It's too bad the film never makes good on its early promise, but clearly, the rolling fireballs and flying bullets are the priority.

Both compelling and disturbing, this tragicomic documentary follows five dreamers as they pursue romance.

Very little actually happens, since most of the time Mr. Shi sits alone in Yilan's empty apartment, wondering how to help her. But there's a gentle beauty in these long, anguished silences, and Wang and his actors make the most of it.

A vanity project so preposterous it deserves to become an instant camp hit.

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

Offers moments of striking insight amid the inevitable self-indulgence.

There is a fair share of turkeys at the multiplex this week, but none are quite as overcooked as Extreme Ops.

The entire cast is fully committed to this squishily sentimental tale, which is especially impressive given that it's the kind of generic dramedy you'll swear you've seen a thousand times before.

The movie's power comes less from its contrived story than everything else: the stark setting, chaotic energy and authentic cast.

Very good but very grim, Paul Andrew Williams' punishing debut doesn't pull many punches - although the characters certainly field their share of body blows.

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

None of the children are professionals, and their uncontrived performances lend a painfully real quality to what becomes a rather lyrical story.

Phelan makes nice use of the New York locations, but all the trees in Central Park can't make up for a clichéd script and characters who speak entirely in platitudes.

Since Adam Sussman's script is as lazy as Asif Kapadia's direction is disjointed, nothing ever makes sense, even after the anticlimatic explanation is revealed.

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.

Glatzer's self-consciously quirky indie is misguided on every level.

Reygadas is clearly out to shock us, to shake us and show us a host of furious ideas about class, gender, religion, nationality, love - really, there's very little he doesn't throw into this thickly ambiguous stew. If only he hadn't made his deliberately confusing, heavily symbolic story quite so difficult to digest.

Feuerzeig's film - everything a good documentary should be - is a story of family, friendship, art and fame, as seen through the prisms of exceptional beauty and deepest pain.

Little more than a blatant marketing tool. But it's breezy and brief enough to keep young fans - and even their parents - modestly entertained.

This is the kind of movie in which Jarrod's nemesis turns out to be paraplegic, while his dad lives in a wheelchair despite the fact that he can walk just fine. Ha.

It's certainly been a while since we've seen a movie this resolutely old-fashioned. But while the script feels a little stiff and moralistic at times, it's hard to fault a film with such an intelligent, good-hearted heroine.

Anyone looking for something original or unexpected should check out the trio of short films that comprise this entertaining ode to the titular city.

Most of the supporting cast (including Daphne Rubin-Vega and Michael Jai White) underwhelms. Still, Palladino is a strong lead, and there's no denying the film's emotional core.

The only truly ugly side to this self-consciously grimy movie is the streak of Neanderthal humor. Operatic overacting is funny. Racist and homophobic jokes? Not so much.

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.

The dialogue does have Coupland's characteristic snap, but like its mellow hero, the movie takes the easy route just a little too often.

Trachtman's gentle profile does make for touching viewing, but she leaves too many questions unanswered.