Joe Neumaier

It’s hard to fault a movie like The Good Lie for its intentions. But it can be faulted for pandering, both to its subject and to audiences.

Mood is more important to Not Fade Away than anything, but writer-director David Chase, who turned mood into masterpiece with every season of "The Sopranos," allows nostalgic feeling to be the sole reason for this, his first feature film.

Sports biodramas generally take one of two tacks: gauzily sentimental or scrappy tale of struggle. The Express runs the thin line between the two and, to its benefit, more often than not hits the first mark.

Unfortunately, despite the sweaty, tense atmosphere, Viva Riva becomes derivative of the duller scenes in other gangster flicks.

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

Keshavarz's vision is clear and heartfelt, and everyone has an urgency in their eyes.

If Deadfall had more life, it might have been about more than just its wannabe edge. Ruzowitzky, whose 2007 film "The Counterfeiters" won a Best Foreign Film Oscar, understands the movie's simple plan. But it nonetheless puts us into a big sleep.

"Parnassus," while not unwatchable, is also an elephantine mess.

Maguire’s portrayal of Fischer’s volatility, disconnect and inner demons is gripping. It’s his best performance since “Wonder Boys” (2000). Schreiber hardly says anything, yet he’s gloweringly good. He acts with his jowls and brow and swept-back hair, making the sort-of rock-’n’-roll Spassky a polar opposite, but strategic equal, to Fischer. Saarsgaard is also terrific, lending a quiet air of solemnity and thoughtfulness.

When Marilyn Monroe appears, things stop. She is, as portrayed by Michelle Williams, a strange and beautiful alien: Unpredictable, odd, magnetic.

Entertaining, inventive and old-fashioned in the best way.

Fast-moving, exciting and contains more twists than a tunnel under Checkpoint Charlie.

I Love You Phillip Morris not only blasts gay stereotypes back decades, it could actually make people wish for a third "Ace Ventura" movie. Both of those are an accomplishment, though neither is a compliment.

The slick but moving Saving Mr. Banks transcends its corporate pedigree to become a great Disney movie about making a Disney movie.

A slow, solid movie that, like Rita, sneaks up on you with its intelligence and pluck.

This insightful doc from director Andrew Rossi addresses topics that get more polarizing each year: the high cost of college, the factors that dictate who’s educated in this country and the culture that surrounds those decisions.

Likely to draw a range of responses. Many will be transported by its gorgeous construction and breathless emotion. Others will find it patently ridiculous.

While the film becomes slightly redundant, the anger and strife its characters cannot overcome is awful, poetic and, frankly, astonishing.

As shown in this disarming and intimate documentary named after their band, the oddness of actually being sought-after was something neither was prepared for.

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 success here is mostly due to nuanced performances and an appreciation for what these kinds of films require.

Laudable as its world-building is, the film drags not just in its interminable middle hour, but also during the redundant monster-on-mechawarrior smackdowns.

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

World is grounded, offering up a rare case of well-earned hopefulness.

This gruesome, allegorical drama is dark and unsettling, but not so original that it begs to be let in.

Affectionate but also winking (the "Star Wars"-riff title gives away its lack of objectivity), with a good history of how far fandom has come, "A Fan's Hope" is really for those who've turned to the far side, but is ready to turn on a tractor beam for everyone else.

Unfortunately, the movie doesn't have enough going on to keep us engaged, but writer-director Aaron Katz has a confident style and a way with small moments.

Nachmanoff fills the movie with a sense of gripping, '70s-style grittiness that helps undercut the web-of-evil tone.