Joe Neumaier

Just when it seemed Hal Hartley was going to be forgotten, along comes the Long Island-based auteur’s terrific new feature. It’s a follow-up to his opus “Henry Fool.”

Though every frame is great to look at, Bolt's script - by the co-writers of "Mulan" and "Cars" - lacks the wit of its closest Pixar relative, "The Incredibles." Rhino and some goofy pigeons provide the few laughs once the tale goes cross-country.

One of the many beautiful things about this affecting, informative doc is the opportunity it gives to see the American college sports world through different eyes.

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

Most tales come from the inimitable mouth of the man himself, who could make ordering dinner sound like Shakespeare. He had a life to match. Workman covers all of his subject’s years, even if very few of them truly belonged to Welles.

Hoffman, Morton and Jon Brion's aching score somehow capture the all-too-human need to get things right. If you're in a certain frame of mind, those moments make up for all the stagecraft.

The film isn't easy to watch, but its portrait of perseverance and ecological commitment is enlightening.

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

It's been a long, not always linear path to the opening of the new tower, planned for 2014. Yet, as one observer says here, the project has helped heal New York in a very New York way - acrimonious, messy and loud.

Haywire, clean and no-fuss as it is, needs more action scenes to match Carano's game.

Jason Schwartzman does the full Bill Murray in 7 Chinese Brothers.

The big twist to Closed Circuit is stated in the film’s TV ads, so even the element of surprise is lost. There may have been the making of a juicy, episodes-long BBC series here, but as it is, there’s barely any juice at all.

Flow makes you thirsty for more information.

With no adults to add melodrama, the sweet Water Lilies depends on the emotion in its young performers' faces to move forward.

Quiet moments after big decisions are where the power lies in this absorbing French drama.

As this strong, moving documentary shows, for those who came to the U.S., reconnecting to their culture and blood relatives can result in a generation of young people who feel "somewhere between" Chinese and American. They're never fully one or the other, but in the best cases can feel part of both.

Rosewater is not about what isolates us, and part of the film’s terrific achievement is its recognition that staying connected is a daily show of strength.

Writer-director Ruba Nadda's film is ultimately like a summertime flirtation that never quite comes to anything.

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

Just as precise and self-consciously precious as predicted. Which doesn't mean it hasn't got moments of charming wit buried under all its archness.

Johnson is convincing as a swaggering, jokey Lennon, but the photos of young John, Paul and George that end the movie ultimately have more punch than this bubblegummy montage.

By the time Barney gets one final, heartbreaking chance to screw things up, this rich, satisfying film has you hooked.

Luna and Bernal have amiability, but not enough to earn a recommendation for this clichéd movie.

The late King of Pop delivers.

Branagh, working from a script by Chris Weitz, gives the film emotional heft. James’ performance — never saccharine, often staunchly independent — makes the story’s more regressive elements float away.

Stories about mythic figures at the end of their days are compelling — but they still need some zing. That’s what Mr. Holmes is missing.

Rory Culkin’s turn in the deeply felt and haunting Gabriel is so powerful you can’t look away.

It would be easy to say that the final minutes of this mixed-up thriller make everything before it meaningless, but that would indicate the odd conclusion has meaning, too.