Joe Neumaier

Intoxicating, and at times maddening, to watch.

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

Director Megumi Sasaki's film feels like a cozy visit with neighbors whose insights are priceless.

Most impressive of all, The Avengers makes superhero movies new again - a colossal task indeed.

Polanski views things so mischievously that the naughtiness is neutered long before sniveling Thomas is tied to a pole. He’s a captive not only to Vanda, but also to all the dull, reductive mind games.

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

If Hitchcock had done a coming-of-age drama, it might have resembled this haunting, nervous, sad movie about an early twentysomething.

All of the actors' vocal performances are spot-on, including McAvoy's gentle Arthur, Nighy's salty GrandSanta and Ashley Jensen's cute stowaway elf Bryony, a chipper little pixie that would make Rudolph's pal Hermey proud.

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

There's as much social history of L.A.'s racial divide as there is appreciation for the band's big, genre-crossing sound. It all comes together for a rollicking chronicle of verve and nerve.

Michael Douglas in Solitary Man, has all the tools of the man who plays him at his disposal. At times in this often engaging, occasionally meandering movie, that's enough to score.

An oblique, by-design and frustrating drama, Claire Denis’ film about a man’s mysterious suicide and its repercussions is creepy, but finally too vague.

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

Director Tiller Russell sometimes get sidetracked — a dangerous thing in a story that already has a lot of twists, turns and off-ramps. But it’s a story you have to hear, from the guys who lived it and may never live it down.

The layered, tuned-in adaptation by Michael H. Weber and Scott Neustadter avoids calculated sentiment.

Kristen Wiig is scary. That’s a good thing. It’s part of her appeal as a comedian, and crucial in the funny-weird comedy-drama Welcome to Me, which uses the working-without-a-net aspect of Wiig’s humor to unsettling effect.

Through it all, Tatum and Hill are totally winning.

Sadly, once the movie shifts gears, it becomes a timid "Donnie Darko."

Like Gandolfini, the deep Brooklyn of The Drop is formidable, bona fide and memorable.

The Company Men recalls 1946's great post-World War II drama "The Best Years of Our Lives," and the reason isn't simply its trio of protagonists.

Talk about style over substance: The sheer volume of musical, comic-strip and video-game influences, riffs and licks in "Scott Pilgrim vs. the World" can get exhausting, but they also are what lift this romantic coming-of-age tale from this world to someplace totally ... else.

This quietly poetic little gem contains many beautiful things, not least of which is leading lady Zoe Kazan, who lets every scene billow and swirl around her effortlessly.

A snapshot of several New York eras that coincide with the Internet's growing pains, We Live in Public focuses on entrepreneur, party-thrower and dot.com bubble participant Josh Harris.

Those who only know Chiwetel Ejiofor from his quietly powerful work in the Best Picture-winning “12 Years a Slave” should see him here — to experience his range.

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.

Director John Scheinfeld's film, utilizing interviews with friends and collaborators, hits a high note on Nilsson's friendship with Ringo Starr and his fear of stage performance.

As tough-spirited as fans would hope for - and exciting and thought-provoking in a way few adventure dramas ever are.

Steen, her face full of remorse, does a great job of portraying someone unclear of where to go or what to say without a script.