Marc Mohan

A second helping of a satisfying dish.

This story could take place anywhere there are families struggling to remake themselves in the aftermath of tragedy; its universality is perhaps the most potent political message of all.

It's not a question of Lucas' right to revamp his own work -- the movie simply was much better without these absurd additions.

At a full three hours, the movie flirts with wearing out its welcome about two-thirds through, but recovers to end up an exhausting, operatic black comedy that leaves you wanting more.

Sweet Land brushes against the true spirit of American independent cinema.

Fiennes and screenwriter Abi Morgan deserve credit for crafting something more nuanced than a mere scandal-airing demonization.

Like Brad Pitt and Robert Redford, Gere's good looks have made it hard sometimes to recognize his acting ability, but it's on full display here in what is anything but a vanity project.

The movie, like the man, seems more interested in spreading the gospel of environmental responsibility, and in doing so it's probably the most important film of the year.

Park is a visual virtuoso, with imaginative transitions and clever use of special effects wrapped around a sly, effective performance from Lee at the center of it all.

What really separates Zatoichi from a run-of-the-mill action pic is the sense of humor -- and even more than that, the sense of fun -- that Kitano brings to it.

Some of the combat scenes work, including a kitchen-set hand-to-hand battle that's one of the movie's highlights, but more often they feel superfluous at best.

The movie's centerpiece and peak is the operation itself, which Reichardt depicts with the pulse-pounding patience of a classic heist sequence like that in "Rififi."

By the time the satisfying conclusion rolls around, though, it proves to be much more about the ability of a world-class director to induce such willing suspension of disbelief that even the loopiest narrative developments seem like the most natural thing in the world.

Behind the on-field shenanigans and eccentric personalities, there's a meatier story about the corporatization of sports and the disappearance of the barnstorming attitude Bing Russell took as a virtual religion.

The story of Matt VanDyke, as told in the fascinating documentary Point and Shoot, is a vivid illustration of the ups and downs of reinvention.

Hers is a sad story, but the fact that she never received recognition during her lifetime isn't part of its sadness.

Director Jan Hrebejk and screenwriter Petr Jarchovsky ("Divided We Fall," "Up and Down") have crafted another well-observed tale, one with no heroes or villains, just people trying to make something of the situations in which they find themselves. And, with a nicely ambiguous ending, it's drama enough.

The whole thing unfolds with sadistic precision, but Edgerton's expert manipulation makes it a fun ride nonetheless.

Hold onto your hats, True Believers! This one's got the most massive, momentous montage of Marvel's merry mutants ever mashed into one movie!

Compelling both as a chronicle of guerrilla filmmaking and as a son's movie about his father, it presents a clear-eyed, warts-and-all view of artistic obsession.

Trainwreck doesn't try to reinvent the wheel so much as rotate the tires of comedy.

The quality that made her an ideal fan club president makes her an endearing, if unenlightening, interviewee.

A volatile film. But it's not a specifically political one. With only superficial alteration, it could be set in Cold War Berlin, or colonial Boston, or any time and place where the dynamics of power conspire to create an atmosphere of paranoia and mistrust.

Most impressively, "Rogue Nation" keeps the body count minimal.

Engaging characters, an unforced pro-girl agenda and amusing songs make this at least the equal to last year’s “Brave.”

Wiig, following the big-screen breakthrough of "Bridesmaids," has dipped her toes into dramatic waters, but for Hader, The Skeleton Twins is a revelation.

Frankenweenie seems like a genuine effort to pass along this love to the next generation, and if one kid who sees it goes home and demands to watch another movie featuring a giant turtle, it will have done its job.

Powerfully explores the struggles faced by those whom DNA testing has exonerated after years behind bars.