Joe Neumaier

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.