Lou Lumenick

Christopher Nolan's dramatically and emotionally satisfying wrap-up to the Dark Knight trilogy adroitly avoids clichés and gleefully subverts your expectations at every turn.

Pinto's lack of dramatic range (she basically has two expressions) and an awkward third act do not provide a solid foundation for Hardy's tragic ending.

The best evidence of this troubled man's genius is provided by ample samples of his music, much of which will be familiar to fans of Warner Bros. cartoons from the '30s and '40s.

Gets sillier and sillier as it goes along.

Even in an underwritten role, the delightful Madsen shines in her best performance since her comeback role in "Sideways."

Sometimes dull and mostly uninspired, it's much less a satisfying reboot like "Batman Begins'' than a pointless rehash in the mode of "Superman Returns.''

The best reason to wade into this (let's be honest) challenging but hugely rewarding film is Quvenzhané Wallis.

Provides a fascinating tour of the city's past.

Has its laughs, but pretty much every single one of them is in the trailer. And even more unfortunately, the improbable new romantic comedy team of Steve Carell and Keira Knightley works about as well as you'd guess - like oil and water.

A sluggish and murky sub-Polanski-esque psychodrama.

This extremely well-acted dramatic farce of grief and betrayal actually has a resonance beyond its target demographic.

Shankman's staging of the numbers - especially the leaden choreography and hackneyed locations such as the Hollywood sign - was far sloppier and less creative than for his last musical, the vastly superior "Hairspray."

A crowd-pleasing comedy that isn't going to win any awards for originality.

This is an exhausting, eyeball-gougingly ugly 90-minute assault of non-stop action, with an all-star voice cast shouting witless lines and a wide variety of objects lobbed at the audience in the crudest 3-D fashion.

Williams, who was elected president of ASCAP in 2009, speaks frankly and eloquently about his problems dealing with fame, and his recovery. And more important, he earns our thanks by resolutely refusing to let Kessler turn this into a clichéd documentary.

The sometimes painfully sincere and slow-moving For Greater Glory clearly aspires to be inspirational, but history won't cooperate. The Cristeros triumphed not because of their faith, but because the United States exerted diplomatic pressure to protect its oil interests in Mexico.

Slight and unremarkable.

The nearly two preceding hours often feel like three, as the patchwork script keeps introducing characters and subplots and dropping them, all while rushing characters through eye-popping environments.

Disarmingly sweet.

Through it all, Clayman struggles to keep himself, and OC87, on track - and it's easy to cheer his ultimate triumph.

This only mildly bloated and convoluted action comedy has enough inspired moments to wipe out memories of the abysmal 2002 first sequel as surely as one of the black-suited heroes' neutralizer.

His late father directed "Rambo: First Blood,'' but Panos Cosmatos' debut feature couldn't be more different - this would-be cult classic is the movie equivalent of gazing at a lava lamp for nearly two hours.

While recollections of the participants in the rescue are often riveting, the subject of Jonathan Gruber and Ari Daniel Pinchot's film remains elusively out of grasp.

Alcoholics Anonymous founder William G. Wilson, known mostly as Bill W. before his death in 1971, was played by James Woods in a fine 1989 made-for-TV biopic. But the drama didn't have room for some of the darker corners of Wilson's life, fascinatingly explored in Kevin Hanlon and Dan Carracino's documentary.

Black loses control of Virginia as it lurches from political satire to unintended black comedy to mom-and-son melodrama. But the performances and the movie's sheer crazy audacity make it watchable.

As for Baron Cohen, he's a great comic but his acting can still use work - most of his funniest lines appear to have been dubbed over other actors' reaction shots in post-production.

The two lead actresses rise to the occasion when they're finally forced to confront each other at the climax.

Rebecca Hall is wasted as Sandvig's sister and the film's voice of reason.