Joe Neumaier

Giamatti is one of the few guys who could take a joke about a chickpea-sized soul and make a meal of it.

Writer-director James Mottern's drama has a lived-in feel, but is notable mainly for Michelle Monaghan's glam-less turn as Diane.

Saldana has a harder lift, as Maggie is striving for something better yet has to often be reactive. In scenes with the adorable Wolodarsky and Aufderheide, she listens and acts intently. But there are too many times when she’s forced to just look worried. Still, Saldana, like so many things in Forbes’ likable but tricky film, does her best in a tough situation.

Often static and follows a familiar trajectory. Yet it has power, partly because Simmons does a fine job of showing how hurt Henry is that his taste didn't imprint on Gabe beyond grade school; what was their music became, simply, dad's music.

Lars von Trier's end-of-days drama Melancholia feels as if it's something from another world...but even by his standards this remote yet lovely funereal dirge is in its own orbit.

Riveting, especially since these animals' population has horrifyingly dropped from 450,000 to 20,000 in a half-century.

Falls short of being revelatory, yet has a mysterious, sturdy power that grows on you.

So with a wink, a nudge and a heaping portion of Midwestern charm, Thin Ice reels us in. Comparisons to "Fargo" and other convoluted little capers like "House of Games" are fair, but when taken on its own terms, this quirky drama thrums along in a low-blood-pressure way.

Winstead and director James Ponsoldt add something gripping and modern to the cinema of recovery, a well-mined genre that can still, it seems, yield thoughtful surprises.

Director Nick Hamm's movie is sparky and fun, and full of affectionate pokes at the '80s music scene. It's also, in terms of music biopics, probably better than the real thing.

Real-life geopolitical blunders aside, The Interview generally hits its marks. And every time it does skid into juvenile idiocy — with too much scatological humor, for instance, and an overuse of “you-go-bro!” attitude — it follows it with a stride or two toward uproarious meta-satire.

Like the politicians it skewers, it knows the real winner is the stupidity, stupid.

The movie itself is an intriguing but ultimately unspecial Feds-vs.-hoods drama. But as the sinister, snakelike South Boston criminal Whitey Bulger, Depp delivers.

As a wry, knowing narrator guides us in and out of their symphonic affair, there’s no doubt the trip is worth it.

More serious-minded than expected, with a unique and savvy point of view.

Owing a debt to Albert Brooks’ early comedies, Red Flag might be too much if it weren’t just right.

Director Oliver Schmitz's rhythms take a while to ease into, and admittedly, there is never a bright moment.

Well-acted and grounded in reality, Brick Lane is never overly emotional, even when it deals with the days after 9/11.

This well-made, elegant doc follows the British actress as she travels and discusses life, art, fashion, sex and death with various friends and collaborators, including novelist Paul Auster and photographer Peter Lindbergh.

Enough Said doesn’t have the intimacy of Holofcener’s “Walking and Talking” or “Lovely & Amazing,” but it still cuts close the bone. Often so close we have to smile in self-defense.

Trippy in the right way, and wholly enchanting.

A little more variation in the script, though, might have yielded something truly great.

Director Lee Chang-dong's soulful, affecting film is as quiet as a tomb and has a disturbing, critical underside that's hard to shake off.

Colorful folks and cool stunts abound, but casual viewers may still utter a big "Why?"

Predestination may have the trippiest, weirdest take yet on the time-travel concept.

This beautifully observed drama creates an intimate feel and gently observed moments of connection and angst. Then things move forward with almost too heavy of a heart.

Some of Hyde Park on Hudson feels like lost scenes from "The King's Speech," the 2010 Oscar-winner about King George. It doesn't help that "Hyde's" own rhythms, appealing as they are, are often soporific.

The jokes are hit-and-miss, but the cast is uniformly game, with Labine stealing the show.

Australian director Cate Shortland’s straightforward approach to the blinders worn by Hitler Youth creates a disconcerting and eerie film, made even more memorable since it’s seen through the prism of childhood’s end.

Throughout, Hollyman rings true . She’s heartfelt, freaked-out and never too way out.

An emotionally devastating drama that isn't for the squeamish.

It's amazing that in an era of oversharing and reality TV, a doc consisting mostly of cable TV clips and personal reminiscences can be so resonant.

Even with no wood sprites, witches or spells, there’s plenty of magic in this coming-of-age charmer.

The result is cool and semi-comical, but also serious.

His years of success aren't as gripping as Kapadia, and Senna's legend, would have us believe. He had no demons besides fame, and no hurdles besides a recklessness that went with the territory.

A committed cast and pensive insights into family and self-expression help make this indie drama work.

It doesn't try too hard, but what The Lie is working at, in its unassuming, amusing way, is a mini-portrait of growing pains in a time of extended adolescence. The truth is, that kind of thing is never easy, no matter what age.

"2" works harder to land punches, but when it does, it provides the kind of fun it's fan base hopes for. But expectations, and targets, are lower all around.

Director Andrew Dosunmu’s film is big-hearted and rich, frequently using slow motion to underscore an artful intimacy.

Peter Mullan and Olivia Colman give such hard-as-nails, lived-in performances in this stark drama directed by Irish actor Paddy Considine ("In America," "Cinderella Man") that it's impossible not to be pulled in.

The rhythms of this comedy-drama may be familiar, but besides its fratty title, it's surprisingly sophisticated.

This uneven but often charming movie produced by Spielberg gets so many things right, including its practiced naivete. What's missing, however, is a crucial sense of connection to itself.

With the combo of Neeson’s natural solemnity and his action chops, “Tombstones” treads compellingly amongst lesser thrillers.

Twisty, engaging thriller.

Despite the limitations inherent in the genre, it actually delivers.

A taut drama that manages to be thoughtful without forgetting it's a creep-out.

Chronicle is an energetic hodgepodge that tweaks familiar conventions just enough to seem fresh. Forget the X-Men - these are iHeroes.

Weithorn, a sitcom vet whose credits include "Ned and Stacey" and "The King of Queens," makes sure even the quiet moments in the unassuming "A Little Help" move things forward. And that every one of Laura's missteps is in the right direction.

Sadly suffers from more than a dollop of boredom. Like the ornate dollhouse that plays a part, "Arrietty" is lovely and well-appointed, but filled with only what you bring to it.

With action this strong, the script just needs to be serviceable - and that's exactly what it is.

In terms of scares, this old-fashioned Thing is better than most new things.

Fascinating and, when you see Afghan versions of Simon Cowell and Co. reacting to tryouts, a reminder of how fame and the thirst for it is the same in any language.

Plot is not the movie’s strong suit. But stylish set pieces are, including one epic blast-a-thon alongside a pool.

Even with all the inconvenient truths exposed, Stone's film is still, sadly, inescapably crucial.

There’s visual poetry here and haunted performances from Mezzogiorno and Timi -- who plays two roles, and is especially gripping as Dalser’s grown son.

The good-natured cast helps distract from a barely sketched plot and outrageously cheap production values.

A terrific, quirky New York-set character piece.

Before going off in conventional directions, "Circus" is terrifically weird, funny and garish. Bozo and Clarabelle it ain't.

This one could have flown over the cuckoo's nest, or smacked into a glass pane, but instead lands in the middle of the road where quirky and popular meet.

As narrated by Mickey Rourke and with appearances from Arnold Schwarzenegger and Lou Ferrigno, the movie captures the men who mix “sports, entertainment, art and a way of life” — as the former Governator describes body sculpting. It’s their honesty that looms large.

It's strange to call a film with so much nudity and simulated sex "old-fashioned," but The Sessions nicely bridges that gulf.

There are big special effects, of course, but refreshingly, this third (and final?) movie in the franchise is like a pleasant stroll through familiar halls.

Without giving anything away, much of the excruciatingly teased-out tension here echoes the first movie without upping the ante.

Kekilli sensitively portrays Umay's conflicted despair, and the relationship with her son is beautifully rendered.

Almodovar makes some missteps in his icky mélange of melodrama and mischief, but the end result is playfully devious.

Martin starts at the outrageous accent and spins out from there, and that's fine for this. And there are a few snicker-worthy scenes.

To use carnival lingo: Thrilling? Not quite; since Levi's film has no clear goal for Stan to reach. Spectacular? Truth be told, those skeptical of Stan's abilities may still walk out as nonbelievers. Fascinating? Absolutely, because if you take time to listen, everyone's life is a three-ring circus.

This rather elegant movie, like a bold new 'do, is both not what you'd expect and exactly what you feared.

Filmed — patiently, beautifully — over that same length of time, the film’s day-to-day aches are quiet and lovingly rendered.

Eisenberg - seemingly in every other movie nowadays - gives his best performance since 2005's "The Squid and the Whale" in a film that dramatizes a fascinating New York story.

Director Jon S. Baird lets Welsh’s language fill up the room, even when it’s a wee bit hard to fathom.

The cast is uniformly appealing in out-of-left-field ways, but writer-director Brooks Branch lets the story amble lazily, which -- like Gabriel and almost every character like him you've ever seen -- gets a little tiring.

This thought-provoking but overlong doc wins points for being all-inclusive.

While Lucky Them may not be a classic, the actors at least find a cool groove.

Best of all, we take a trip back to Depression-era New York and grasp its resonance more than 80 years later. Delicious.

Every performer is tough and charismatic, especially Honglei Sun, who, as Jamukha, gives so many neck-cracks, guttural howls and conspiratorial smiles he's like a Chinese Marlon Brando.

Harrelson though, is in every scene, and seeing him burn up Rampart is positively arresting.

“Natural” perfectly describes Nolte’s performance, too. With his growly voice and bear-like aura, he might be dismissed as a walking sight gag, but don’t let that fool you. Nolte’s way with a joke is nimble, and his delivery is spot-on.

Despite the ominous feel, this is a mystery about losing or gaining lives and unknown detours.

Hey, Michael: It's the robots, stupid. Despite all the mechanical mayhem, none of the Transformers stand out.

Kline, who has done a lot of chewy character roles after several stage ­triumphs, is as sly and leonine as ever. His performance here obliterates that phony accent he used in "French Kiss."

This exquisitely acted, genuinely creepy minimalist drama does spin its wheels a bit before a cool conclusion. But the movie has a spark of creativity not seen in “Chappie” or “Eva,” two of the recent robots-among-us flicks.

If one performance could tilt a movie the direction it needs to go, John C. Reilly's expertly left-of-center turn in Terri is it.

It’s never laugh-out-loud funny or inside-track smart, but in a summer full of bombastic failures, a lack of pretense is enough.

Like a dime-store holiday card, this Christmas Carol is well-crafted but artless, detailed but lacking soul.

Despite some tough-to-take moments, this challenging, smart movie is worth the trip.

Grace, especially, gives a turn that could be a twerpy cousin to Tom Cruise's character in "Magnolia"; Fischer's dead-eyed responses to this Mensa-member/player who think he's book jacket-hot are priceless.

No one conveys late-life elegy and cool intellectual cunning like Langella.

A racial melodrama that, until it stumbles into obvious and maudlin territory, is a thoughtful work thanks to Octavia Spencer, Anthony Mackie and especially Kevin Costner.

The reason director Fernando Meirelles' intimate drama 360 succeeds where other adaptations of Arthur Schnitzler's 1897 sexual circle-back play "La Ronde" haven't is, ironically, because it puts less emphasis on body heat and more on intellectual coolness.

Director Craig Zobel's indie, based on real cases, has a sharp psychological point and a can't-look-away quality even as it turns horrifically dark.

Wahlberg and Johnson are the saving graces of an in-your-face movie.

Yoichi Sai's movie may be a bit tough for young viewers, but it is gentle and illuminating.

While McNairy and Mendelsohn are solid but almost too showy, Liotta, Jenkins, Sam Shepard and a chewy supporting cast beautifully fill in the blanks. Killing Them Softly adds each of its characters to a punchy, prosaic tale that believes in America, one way or another.

Overlong but ambitious, Woo proves he's as good at tactical maneuvers as he is at close-quarters combat.

The main reason this gorgeous-looking, sweet-hearted but so-so movie remains grounded is a herky-jerky, cobbled-together story that squawks when it should sing.

Writer Sarah Koskoff's nuanced script and director Todd Louiso's ("Love, Liza") delicate tone follow indie terrain, but go the right way.

As a virtual tour of what Earth Day is about, kids ought to be entranced. If it helps them get greener, even better.