Joe Neumaier

Jack Black adds new depths to his slippery comic persona in Bernie, a movie that may not ultimately add up to much, but which is filled with wonderfully odd details of weird Americana.

Carla Gugino has yet to find the right movie that clicks with her spunky outsider appeal, but The Mighty Macs, a gauzy, inspiring true-life drama about a girls' basketball team, at least gets her close and provides a lot of assists.

This amazingly beautiful, and amazingly frightening, documentary captures the immediacy of what climate change is doing to the Arctic landscape.

The fear, desperation and hope of Time Out of Mind is painfully, hauntingly human.

The moments when Spy falls apart are when the film fancies itself the real thing. The times when it works are due to its leading lady.

Makes the most of its format, soaring when its young hero rides on his winged reptilian pal, and full of heart and heroism even when its action is grounded.

The movie respects a viewer’s intelligence, which should also serve as a warning; don’t be lulled into a stupor. Keeping sharp will allow all the fun and menace in this terrific thriller to seep into your head.

Perfect for families and exquisitely shot, this entry from the Disneynature division is even better and fresher than last year's "Earth."

Director Scott Teems' film is as quiet as untilled soil -- not always a good thing -- but Holbrook has a handle on where to dig.

Inside these average American lives are futures far too often passed over or, worse, written off. This terrific film gives the teenagers their due.

Digs up familiar ground without adding any fresh dirt.

The movie sometimes has the feel of an Olympic sprinter running in place. There’s so much energy expended to get to one spot. Constant searches beget more searches. It all gets exhausting.

This slovenly, self-indulgent riff on Charles Bukowski-like fringe-livers has all of the naked harshness of Bukowski with none of the poetry. At least Haas gives it a good shot.

The twists and turns involve a high-level assassination, corrupt cops, squint-inducing violence and plenty of fearlessness.

The movie grips us partly because Bakri’s performance is alternately casual and calculated.

This trip through the seminal performance artist's (often literal) body of work is sometimes too cozy, yet Abramovic might argue that objectivity is impossible if truth is the destination.

The charming, soulful Me and Earl and the Dying Girl is a movie that loves movies — which is great, because you’ll love this one.

What emerges is a portrait of the "psychic risk," as her father says, of living a creative life - and the intense feeling that entails.

When the grade-school kids are Israelis and Palestinians, the initially reluctant, moving duets they finally perform make you feel like, yes, dancing.

At its best, this beautiful, off-the-cuff comedy-drama recalls John Cassavetes' shaggiest, most honest work.

One of the best indie films of the year, Humpday is a lighter descendant of "sex lies and videotape," yet burrows just as deep into the male psyche and the human capacity for self-deceit.

Goats is just b-a-a-a-aad.

Its young heroine is proud to be herself; there's just not much for her to do beyond that.

Their mundane meetings underscore how easily secrets are leaked, but unfortunately, scenes of meetings between Presidents Reagan (Fred Ward) and Mitterrand seem hollow and naive. Kusturica and Canet are strong, though, as is Willem Dafoe as an American intel officer.

Howard, whose previous tales of men in professional peril include the topnotch “Apollo 13” as well as “Backdraft” and “Cinderella Man,” works with cinematographer Anthony Dod Mantle to create a style in the racing scenes that makes the most of every angle. By the time the final lap of Rush starts, we’re up for the ride.

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.

There's no bells and whistles here, no 3-D or useless grey fluff, just Pooh as he's always been, silly and true.

With witty throwaway bits and Cavanagh's fast delivery, "Scot" gets away with a third-act dip into hearts and platitudes. Otherwise, it's refreshingly snarky and quick.