Joe Leydon

For all its recycled elements and predictable narrative stratagems, this diverting Diwali-timed extravaganza stands on its own merits as a lightly satisfying popcorn epic — provided, of course, you have a taste for such over-the-top amusement.

Brimming with heart and humor -- Drumline is a formulaic crowdpleaser set in the competitive world of university marching bands at predominantly black universities.

A wildly uneven but compulsively watchable mix of high camp and grand passions, soap opera and softcore sex. Very much in the deliriously lewd style of Pedro Almodovar.

Despite a few continuity problems, this rough-edged, low-budget drama impresses with spot-on performances, perfect-pitch dialogue and an overall sense that something bad might happen at any moment, unless something worse happens first.

Working from a script by Lou Berney, which in turn was adapted from a novel by Turk Pipkin, director Tim McCanlies maintains an even hand throughout, so that neither the moments of broad comedy nor the stretches of tearjerking sentimentality get out of hand.

Charged with alternating currents of teen angst, sardonic wit, nervous dread and impudent sensuality, Daydream Nation suggests "Juno" as reimagined by David Lynch, or a funnier, sunnier "Donnie Darko."

Unquestioning agitprop for vegetarianism, hemp fiber, solar energy, sustainable organic living and other causes espoused by actor-activist Woody Harrelson.

Outrageously over-the-top gore doubtless will scare off all but the heartiest genre aficionados.

There's more mood than matter here, but suspenseful atmospherics effectively distract from minor plot holes.

By turns whimsically humorous and intelligently sentimental, but also infused with a pungent air of working-class realism.

Riveting portrait of a straight-talking, tough-loving Benedictine nun in charge of a South Bronx home for recovering substance abusers.

The disorienting impact of this early shock, coupled with the zig-zaggy progression of the time-tripping narrative, goes a long way toward distracting from a fairly conventional premise that ultimately asserts itself above all the flash and filigree. Indeed, you could describe the entire movie as an elaborate con job — and intend that appraisal as a compliment.

A slickly entertaining piece of work that will doubtless delight the young pop star’s fan base, and possibly engage curiosity-seekers who have heretofore remained immune or indifferent to Bieber Fever.

When a documentary begins with its subject using his crutch to deliver a vicious blow to the director's nose, it's reasonably safe to expect less-than-smooth sailing ahead.

Despite the over-familiarity of its once-trendy time-tripping plot structure, 96 Minutes maintains a brisk pace and generates a satisfying degree of suspense with its credibly contrived tale of disparate lives forever changed by a violent carjacking.

A lightly enjoyable road picture about a circuitous road to redemption, Black, White and Blues offers simple, down-home pleasures while spinning an undeniably familiar but emotionally satisfying tale.

Director Johannes Roberts’ mostly underwater thriller is a compact and sturdily crafted B-movie that generates enough scares and suspense to qualify as — well, maybe not a pleasant surprise, but a reasonably entertaining one.

The performances are deft, the pacing is fleet, and the viewer is left with the agreeable impression that Band of Robbers is a promising work by filmmakers whose next one probably will be even better.

Lightweight but likable romantic comedy about two mismatched gay singletons who are, of course, made for each other.

The helmer generates suspense with shrewd pacing, deft emotional manipulation and efficient use of familiar tricks -- jittery editing, flickering lights and unsettling sounds -- common to haunted-house pictures.

Trendy influence of insidiously creepy Japanese horror pics is felt in almost every frame of Boogeyman. The effectively atmospheric and unusually involving thriller tells the story of a distraught young man's protracted duel of wits with the eponymous evildoer.

A pleasingly retro recycling of "The Love Bug."

Beautiful lensing by Mauro Brattoli and an evocative score Steve Poltz enrich the pic’s flavor as a document of, and a tribute to, an iconic cowboy’s indomitable spirit.

Uplifting and entertaining feel-good, fact-based sports drama.

Ingeniously nasty and often shockingly funny as it incrementally worsens a very bad situation, then provides a potent payoff with the forced feeding of just desserts.

The film deserves more than just a passing grade, and is a good deal better than any plot synopsis might make it sound.

Less censorious aficionados likely will be willing to look past the rough edges and enjoy the simple pleasures provided by a respectfully sincere retelling of a familiar legend.

Sometimes shaky, sometimes smooth handheld DV lensing (by Drews and Krybus) gives the pic an immediacy that greatly enhances its dramatic and emotional impact.