Marc Mohan

There are some attempts at a comic-bookish, film noir vibe, including a hotel where all the crooks and killers stay, forbidden by house rules from "doing business"on the premises. And everywhere Keanu turns, he bumps into a character from HBO.

Co-directors Nat Faxon and Jim Rash, who won an Oscar for writing "The Descendants," are smart enough to mostly stay out the way and let this talented crew bring their script to life.

Chow's specialty is over-the-top slapstick action in the Hong Kong style, and the new film doesn't disappoint on either count.

It's the rest of the movie, especially a grin-inducing final third, which makes "Apes" rise above the level of a typical sci-fi rehash.

Really, though, the most surprising thing about this system is how it disregards some of the basic tenets of conservatism.

It's not clear that Ayoade has anything new to say about these time-worn themes, but he has fun creating the world of the film.

Cianfrance is the real deal, and anyone who can persuade talented Hollywood stars to enact nonironic, intelligent, ambitious drama should be encouraged, especially when the result is something like this.

Apart from its sociological interest, though, Nathan's film offers the pleasure of some really impressive stunt driving.

For those under the impression that Icelandic life consists solely of fishing and the hosting of international summits, this triangle of love, lust, and misunderstanding from director Baltasar Kormakur is a welcome treat.

The politics of the story come to life through the vivid characterizations of a uniformly excellent cast.

Neighbors makes "Animal House" look like "Remembrances of Things Past."

Isn't meant to be a depressing experience, as each of these unfortunate souls recovers a sense of pride in themselves and their tribe through music.

Z for Zachariah has things to say about the tugs-of-war between science and spirituality, thought and action, men and women. It's just not exactly sure what they are.

Inspired by uprisings in the former Soviet bloc as well as, more pointedly, the Arab Spring, Makhmalbaf serves up a surprisingly tense, sometimes poignant parable. It's good to have him back.

The result feels less like selling out than growing up.

It's a sad commentary on the independent film business when a proven filmmaker like Hartley has to go hat in hand to the Internet for his budget, but at least he got to make the movie on his terms. It turns out to be the best thing he's done since "Henry Fool."

With less intelligence behind it, this could have easily been one of those films that seem like they were more fun to make than to watch. Instead, it's a thoroughly good time at the movies, from humble beginning to cosmic, surprise-cameo-featuring end.

The bickering lovers are generally likable, as are her quintessentially and hilariously Gallic parents (played by Delpy's real mom and dad).

In addition to a vast array of incredible autos crafted from fiberglass, Roth also created the anti-Mickey cartoon character Rat Fink, a deranged-looking, filthy rodent.

The word "hermaphrodite" is never actually uttered, for instance, and the whole topic is revealed obliquely, mostly through the puzzled eyes of Alvaro. Most impressively, a tale that could have been handled with condescending simplicity becomes a testament to the flawed but noble humanity of both parents and children.

Despite too stately a pace at times, and some fairly predictable plot resolutions, the film succeeds thanks to empathetic performances (from Walken and especially Hoffman) and an evident affection for the music and musicians it depicts.

Closed Circuit ultimately feels like a cynical attempt to capitalize on security-state anxieties while examining them in only the shallowest ways.

A harsh self-examination of the cynicism that has crept into every cranny of the political landscape. As such, it's absolutely a story of our times.

Starring in, directing and writing (in collaboration with Michel Marc Bouchard, on whose play it's based) a movie at Dolan's tender age is certainly a Wellesian accomplishment. All three actors are convincing, especially Cardinal as the cruel, manipulative Francis, and their characters' behavior feels authentic even when it's not logical.

Zach Braff has come up with a charming, funny, melancholy ode to twentysomething angst.

With barely a hint of trippy visuals, it captures the highs and lows of one mind-expanding surfside day.

This deadpan ode to living life to its fullest could be the ultimate crowd-pleaser at this year's PIFF.

Despite familiar elements, including the classic family-versus-work conflict faced by almost every movie cop in history and the equally hoary discovery of corruption among Michel's colleagues, The Connection remains tense and believable.