Jennie Punter

A combination of timing, access, a visual aesthetic that reflects ATCQ's Afrocentric "surface philosophy" (as the crew's look is described) and, most importantly, story-conscious editing elevates the doc above the norm.

Sitcom star Harris puts his smart-aleck chops to good use as Patrick Winslow.

Stacked against this summer's CGI-driven blockbusters, Attack the Block is definitely the fastest action ride (clocking under 90 minutes), and quite possibly the most fun.

Ever so subtly, Schock gradually transports us beyond the exotic and into gripping universal storytelling, aided all the way by the evocative music of Tucson songsmiths Calexico.

For the most part he (Haney) lets the people and images of Coal River Valley speak for themselves – and that's what gives The Last Mountain its eloquent power.

Is there any doubt Evans' Captain America will do exactly what the character created 70 years ago by Joe Simon and Jack Kirby did in the comics – kick Nazi butt? The real surprise will come next year, when we get to see how the super-square Captain adapts to 21st-century life.

Speaking of moves, A Better Life is an interesting one for Weitz, who produced "American Pie" and directed "The Golden Compass" and, ahem, "The Twilight Saga: New Moon." Whatever the reason (his grandmother was a Mexican movie actress), this film feels more personal that just a gig.

Unfortunately, nobody had the good sense to call the comedy authorities and shut this Zookeeper down.

Gomez, who turns 20 next year, looks much younger than her age and has the thankless task of playing three roles...It feels like a struggle and the screenplay doesn't help.

One of the most irresistible films of the year so far.

Brings on a wave of nostalgia accompanied, unfortunately, by a great big yawn that will surely be experienced by parents hoping for a spark of irreverence à la Pippi or the broad comic appeal found in most theatrical family fare these days.

Swords cross, blood spurts and bosoms heave in The Princess of Montpensier, French director Bertrand Tavernier's thoroughly ravishing drama.

While the visuals aren't nearly as eye-popping as those of the underwater movies, the film is more inspiring thanks to its human heroines.

A great-looking, fast-paced film and, to his credit, Bouchareb doesn't bathe the F.L.N. in a completely flattering light. But narrowing the focus to one central conflicted character and tightening the time frame might have given the audience something more to ponder than the action of a historical revenge thriller.

Lanthumos's accomplished and fascinating Dogtooth pushes the notion of parents screwing up their kids into seriously disturbing and darkly comic terrain.

While the outdoor sequences were filmed in New Zealand's Woodhill State Forest – the movie's most stunning 3-D moments – Yogi Bear does feature notable "Canadian content" via two Ottawa-born thespians.

A taut, gorgeously filmed and enjoyably wicked cinematic treat.

Jam-packed but never disorienting, Cool It will definitely get your head spinning.

With Monsters, Edwards transcends the special-effects auteur label, creating a memorable sci-fi story in which the hero and heroine are true equals in the adventure. How's that for an alien concept?

They really pulled out all the stops on this one.

Remember Me could have been a decent family drama, especially considering its setting, but that was not to be. Too bad, because the romance is highly forgettable.

An entertaining, moderately irreverent comedy that launches the silly movie season on a sure foot.

The stellar array of British talent (voicing the various farm animals) and Murray (whom one suspects has rewritten Garfield's lines to be Murray-esque) give Garfield: A Tail of Two Kitties all its energy and make the human actors -- even comedian Connolly -- look and sound like square panels in a two-dimensional comic strip.

Everything's Gone Green is the second feature directed by Paul Fox (The Dark Hours), who maintains an energetic, lighthearted tone throughout the film, even when the story loses focus at its not-quite-satisfying ending.

Both Speedman and Tyler deliver solid, nuanced performances as a couple caught at the most fragile moment in their relationship.

The unruly pack of subplots make The Shaggy Dog much more convoluted than it needs to be. But Allen's physical comedy as man-becoming-dog, and his non-stop monologue as man-dog, are definitely worth a trip to the matinee.

Humpday is mostly foreplay. But isn't that usually the most fun anyway? It certainly is in this film.

A British flick based on the first novel in a popular teenage spy-thriller series by Anthony Horowitz, looks promising but, unfortunately, doesn't measure up.