Marc Mohan

Thanks to a slew of engaging performances and a script that finds the sweet spot between crass and curdled, it's a winner.

Her film is just as effective as a portrait of two unknowable, individual souls caught up in events of global scale.

It's a fun and attractive ride.

Despite convincing work from its cast, the movie remains oddly uninvolving.

It's unfortunate that the lack of originality in plot and character keeps Akeelah and the Bee stuck firmly in "After-School Special" territory.

A bit too familiar, and at times gentle to a fault.

Canadian director Richie Mehta ("Amal") based Siddharth on his own random encounter with a father searching for his missing son, and the film never feels less than utterly real in its depiction of both everyday Indian life and the hopelessness that comes so naturally in this sort of tragic situation.

Well-intentioned but underdeveloped and self-satisfied, it feels at times like the ultimate movie for the millennial generation, or at least its stereotype.

A surprisingly in-depth and confrontational examination into the obesity epidemic among Americans, especially children, over the last 30 years.

Land of the Dead is huge. It's Romero doing what he does best: using zombies to create a lowbrow social parable. It shows up junk like "Resident Evil: Apocalypse" for the brainless pap it is. And it's got something that even the best previous "Dead" films have lacked: good acting.

While the film is no groundbreaker, it is a paragon of elegance without austerity, and there's nothing like being in the confident hands of a master filmmaker.

With a titanium body and a child's mind, Chappie is a fascinating figure, vividly rendered, enough so that you wish there was a better movie around him.

A fascinating experiment in both filmmaking technology and narrative style, but one that can be counted a success only in limited ways.

Though it's well-cast and convincingly captures the look and feel of its era, the film loses steam as Accio's story meanders to a predictable conclusion.

Liman stages the chaotic action scenes, including several iterations of the beach assault, with clarity, precision, and wit. This is his best movie since 2002's "The Bourne Identity."

The animation is pretty and clean, reminiscent of other Studio Ghibli films like "Whisper of the Heart," but never achieves wondrous artistry.

This ode to indie legitimacy proves to be too cartoonish to feel real and not outrageous enough to be memorable.