Kirk Honeycutt

Might be too realistic for its own good: The film takes perhaps a little too much glee in its abilities to manufacture mayhem. That being said, the ride is extraordinary.

Eyre does a fine job overseeing performances by a terrific cast that rings true until female hysteria takes over the final act. But in tone and theme, the film has all the hallmarks of playwright-screenwriter Marber's stark, uncompromising misanthropy, if not misogyny.

Dabis, a Palestinian-American, has thoroughly re-energized the genre with refreshing wit, honest emotions, incisive observations and a perfect cast.

Director Jean-Francois Richet shows a career in crime with pulse-pounding moments of pure cinema, then lets you decide what to make of this homicidal sociopath.

Ghobadi always uses non-pro actors but you would never know. In fact, professionals wouldn't do theses roles justice since the recruited performers are partly playing themselves and partly playing people Ghobadi has known since he was a boy.

This is an art film in spades.

Actors dominate with finely nuanced performances where every scene feels dramatically right.

A respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots.

Director Bryan Singer positions this new film as a sequel to Donner's film, and his Superman -- played with winning fortitude by newcomer Brandon Routh -- is less a Man of Steel than a Man of Heart.

Most entertaining comic drama with a great turn by Jamie Bell.

The film has a winning combination for all sorts of platforms as the story is highly intriguing and the music speaks, or rather sings, for itself.

A superb portrait of a father and son disguised as a docu about Haskell Wexler.

Standard-issue superhero movie -- except that writer-director Guillermo del Toro, taking his cue from "Hellboy" comic book creator Mike Mignola, brings a wicked sense of humor to this particular monster mash.

A delightful though wafer-thin starring vehicle for one of our finest actresses, Annette Bening.

Reiser has written his characters with an indelible sweetness and vulnerability, which allows the cast to deliver performances with some depth.

It's all a bit bizarre. One soldier tellingly calls it "one big reality TV show," and the movie never makes clear whether such training does any good.

A high school romp that turns a stale genre upside down with sly wit and sharp satire.

A vigorous, fast-paced tale that entwines plot with character and psychology set against an incredibly exotic backdrop.

How she (Dunham) made her movie is more impressive or at least unique than the actual story she chooses to tell.

The decision to approach Johnny's life as a love story causes Mangold to neglect the development of Johnny's music.

Switching into a dramatic gear, Woody Allen surprises but often struggles in this dark morality tale.

Despicable doesn't measure up to Pixar at its best. Nonetheless, it's funny, clever and warmly animated with memorable characters.

"Phoenix" might go down as the problematic film, full of plot but little fun.

While nothing truly new or shocking emerges, the film does bring clarity and compassion to its depiction of an act that baffles, angers and sickens people the world over.

The filmmaker made the film on his family's tobacco farm so perhaps his own memories may filter through those of his fictional characters. Or maybe they're not fictional at all. Jess + Moss is, to put it mildly, open to interpretation.

The movie is amusing and clever but only skin deep. It lacks the acidity and rage of a satire such as "Network."

Could develop a cult following. But it is hard to envision repeat viewings or any great number of people willing, even vicariously, to undergo the couple's ordeal.

The film does get claustrophobic. It never quite achieves the balance between a two-character study and a larger world, as did "The Man on the Train." The film also could do with a bit more humor, most of which is supplied by the sagacious shrink.